Ear Training, 7th Ed. Revised

ben01366_fm.qxd

6/8/09

4:17 PM

Page i

Ear Training A Technique for Listening

ben01366_fm.qxd

6/8/09

4:17 PM

Page ii

ben01366_fm.qxd

6/8/09

4:17 PM

Page iii

Ear Training A Technique for Listening Seventh Edition, Revised

Bruce Benward University of Wisconsin

U J. Timothy Kolosick University of Arizona

ben01366_fm.qxd

6/8/09

4:17 PM

Page iv

Published by McGraw-Hill, an imprint of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2010, 2005, 2000, 1995, 1991, 1987, 1983, 1978. All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. This book is printed on recycled, acid-free paper. 1 2 3 4 5 6 7 8 9 0 QPD/QPD 0 9 Student Edition ISBN: 978-0-07-340136-2 MHID: 0-07-340136-6 Instructor’s Edition ISBN: 978-0-07-332718-1 MHID: 0-07-332718-2 Editor in Chief: Michael Ryan Publisher and Sponsoring Editor: Christopher Freitag Marketing Manager: Pamela Cooper Editorial Assistant: Sarah Remington Production Editor: Holly Paulsen Design Manager: Ashley Bedell Text and Cover Designer: Kiera Pohl Production Supervisor: Rich DeVitto Composition: 11/13 Times Roman by Thompson Type Printing: 45# New Era Matte Plus, Quebecor World, Inc. Cover: Jason Reed/Ryan McVay/Photodisc/Getty Images Library of Congress Cataloging-in-Publication Data has been applied for.

www.mhhe.com

ben01366_fm.qxd

6/8/09

4:17 PM

Page v

Contents

Preface About the Authors

x xii

Unit 1

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Melody 1A Melodic Dictation: Scalewise (Conjunct Diatonic) Melodies Melody 1B Mode Identification: Major and Harmonic Minor Scales Melody 1C Scale Degree Identification: Single Notes Melody 1D Intervals: m2, M2, m3, M3 Melody 1E Models and Embellishments: Short Melodic Structures Harmony 1A Chord Function Identification: I and V Triads Harmony 1B Chords in Music Literature: I and V Triads Harmony 1C Harmonic Rhythm Harmony 1D Triad Position Identification: Major and Minor Triads Harmony 1E Chord Quality Identification: Major and Minor Triads Harmony 1F Triad Factors in the Soprano Rhythm 1A Rhythmic Dictation: Rhythm Including Half-Beat Values Transcription 1

27 28 28 29

1 3 3 4 5 6 8 9 11 12 12 13 14

Unit 2 Melody 2A Melodic Dictation: Melodies Using m2, M2, m3, M3 Melody 2B Mode Identification: Major and Three Forms of the Minor Scale Melody 2C Scale Degree Identification: Two Notes Melody 2D New Intervals: P5 and P4 Melody 2E Models and Embellishments: Descending Thirds in Two Voices Harmony 2A Chord Function Identification: I, IV, and V Triads Harmony 2B Chords in Music Literature: I, IV, and V Triads Harmony 2C Nonharmonic Tones: Introduction Harmony 2D Triad Position Identification: Major and Minor Triads

Harmony 2E Chord Quality Identification: Major, Minor, and Diminished Triads Harmony 2F Triad Factors in the Soprano and Bass Rhythm 2A Rhythmic Dictation: Duple and Triple Subdivisions of the Beat Transcription 2

17 18 19 20 21 22 24 24 26

Unit 3 Melody 3A Melodic Dictation: Melodies Using m2, M2, m3, M3, P4, P5 Melody 3B Error Detection: Scalewise Melodies with Errors Melody 3C Scale Degree Identification: Three Notes Melody 3D Interval Review: m2, M2, m3, M3, P4, P5 Melody 3E Models and Embellishments: Simple Melodic Structures Harmony 3A Chord Function Identification: I, ii, and V Triads Harmony 3B Chords in Music Literature: I, ii, and V Triads Harmony 3C Cadence Identification: Cadence Types Harmony 3D Harmonic Dictation: I(i), IV(iv), and V Triads in Four-Part Phrases Harmony 3E Chord Quality Identification: Writing Major, Minor, Diminished, and Augmented Triads Rhythm 3A Rhythmic Dictation: Rhythmic Figures Including Half-Beat Values Rhythm 3B Error Detection: Dotted Rhythm Values Transcription 3

31 32 33 34 35 35 37 38 39

40 41 42 43

Unit 4 Melody 4A Melodic Dictation: Scalewise Melodies and Arpeggiations of I and V Melody 4B Error Detection: Errors in Melodies Outlining the I, IV, and V Triads Melody 4C Scale Degree Identification: Three Notes Melody 4D New Intervals: m6, M6 Melody 4E Models and Embellishments: 5–6 Patterns in Two Voices

Contents

45 47 48 49 50

v

ben01366_fm.qxd

6/8/09

4:17 PM

Page vi

Harmony 4A Chord Function Identification: I, ii, IV, and V Triads Harmony 4B Chords in Music Literature: I, ii, IV, and V Triads Harmony 4C Nonharmonic Tones: Two-Voice Examples Harmony 4D Harmonic Dictation: I(i), ii, IV(iv), and V Triads in Chorale Phrases Harmony 4E Chord Quality Identification: Major, Minor, Diminished, and Augmented Triads Rhythm 4A Rhythmic Dictation: Half-Beat Values in Syncopation Rhythm 4B Error Detection: Half-Beat Values in Syncopation Transcription 4

52 53 54 56

57 58 59 60

Unit 5 Melody 5A Melodic Dictation: Melodies Outlining the I, IV, V (and vii°6) Triads Melody 5B Error Detection: Excerpts from Music Literature Melody 5C Melodic Figure Identification: Sequence and Rhythmic Repetition Melody 5D New Interval: The Tritone Melody 5E Models and Embellishments: Descending 6ths in Two Voices Harmony 5A Chord Function Identification: I(i), ii(ii°), IV(iv), and V Triads and Inversions Harmony 5B Chords in Music Literature: I(i), ii(ii°), IV(iv), and V Triads Harmony 5C Harmonic Rhythm and Nonharmonic Tones Harmony 5D Harmonic Dictation: I(i), ii, IV(iv), and V Triads in Chorale Phrases Harmony 5E Error Detection: Single Triads in Four Parts Rhythm 5A Rhythmic Dictation: Introduction to Quarter-Beat Values Rhythm 5B Error Detection: Quarter-Beat Values Transcription 5

vi

Ear Training

85 86 87

88 89 90 91 92

Unit 7 63 64 66 67 67

69 70 71 72 73 74 75 76

Unit 6 Melody 6A Melodic Dictation: Intervals of a 7th Melody 6B Error Detection: Schubert Melodies Melody 6C Melodic Figure Identification: Sequence, False Sequence, and Rhythmic Repetition Melody 6D New Intervals: m7 and M7 Melody 6E Models and Embellishments: 7–3 Patterns in Two Voices

Harmony 6A Chord Function Identification: I, ii, IV, V, and vi Triads Harmony 6B Chords in Music Literature: Emphasis on ii, IV, and vi Harmony 6C Nonharmonic Tones: Four-Voice Examples Harmony 6D Harmonic Dictation: The I(i), ii(ii°), IV(iv), and V Triads in Chorale Phrases Harmony 6E Error Detection: Triads in Four Parts Rhythm 6A Rhythmic Dictation: Quarter-Beat Values Rhythm 6B Error Detection: Triplet Figures Transcription 6

Melody 7A Melodic Dictation: Two-Phrase Melodies Melody 7B Error Detection: Handel Melodies Melody 7C Melodic Figure Identification: Melodic Devices Melody 7D Intervals: All Diatonic Intervals Melody 7E Models and Embellishments: Cadence Formulas in Two Voices Harmony 7A Chord Function Identification: I(i), ii(ii°), iii(III, III+), IV(iv), V, and vi(VI) Triads Harmony 7B Chords in Music Literature: Emphasis on iii and vi Harmony 7C Harmonic Rhythm and Harmonic Analysis: I, ii, IV, V, and vi Triads Harmony 7D Harmonic Dictation: I(i), ii(ii°), IV(iv), V, and vi(VI) Triads in Chorale Phrases Harmony 7E Error Detection: Triads in Four Parts Rhythm 7A Rhythmic Dictation: Quarter-Beat Values Rhythm 7B Rhythmic Dictation: Beat Units Divided into Triplets Transcription 7

79

Unit 8

80

Melody 8A Melodic Dictation: Melodies with Larger Leaps Melody 8B Error Detection: Franck Melodies Melody 8C Harmonic Rhythm, Harmonic Analysis, Sequences, Phrase Relationships, and Cadences

82 83 84

95 96 98 98 99

100 102

103

103 105 105 107 108

111 112

113

ben01366_fm.qxd

6/8/09

4:17 PM

Page vii

Melody 8D Intervals: All Diatonic Intervals Melody 8E Models and Embellishments: 5–6 Patterns in Three Voices Harmony 8A Chord Function Identification: Diatonic Triads (Major Mode) Harmony 8B Chords in Music Literature: All Triads Harmony 8C Nonharmonic Tones: Bach Chorales (1) Harmony 8D Harmonic Dictation: I(i), ii, IV(iv), V, vi(VI), and vii° Triads in Chorale Phrases Harmony 8E Error Detection: Triads in Four Parts Rhythm 8A Rhythmic Dictation: Quarter-Beat Values Rhythm 8B Error Detection: Quarter-Beat Values Transcription 8

116 117 118 120 120

122 123 124 125 126

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Unit 9 Melody 9A Melodic Dictation: Short Melodies from Music Literature Melody 9B Error Detection: Bach Melodies Melody 9C Melodic Dictation: Two-Part Dictation Melody 9D Intervals: Harmonic Intervals of the m3, Tritone, P5, m6, M6, and m7 Melody 9E Models and Embellishments: Descending First-Inversion Triads Harmony 9A Chord Function Identification: Six-Four Chords Harmony 9B Chords in Music Literature: Six-Four Chords Harmony 9C Harmonic Rhythm and Harmonic Analysis of Folk Melodies Harmony 9D Harmonic Dictation: All Diatonic Triads in Chorale Phrases Harmony 9E Error Detection: Triads in Four Parts Rhythm 9A Rhythmic Dictation: Compound Meters with Quarter-Beat Values Transcription 9

129 130 131 133 134 135 137 138 139 140

141 142

Unit 10 Melody 10A Melodic Dictation: Sequences Melody 10B Error Detection: Themes from Music Literature Lacking Accidentals Melody 10C Two-Voice Dictation Melody 10D Intervals: All Intervals Played Harmonically

145 146 147 149

Melody 10E Models and Embellishments: 7th-Chord Patterns in Three Voices Harmony 10A Chord Function Identification: Dominant 7th Chords Harmony 10B Chords in Music Literature: Dominant 7th Chords (All Inversions) Harmony 10C Nonharmonic Tones: Bach Chorales (2) Harmony 10D Harmonic Dictation: The Dominant 7th Chord in Chorale Phrases Harmony 10E Error Detection: Triads or Dominant 7th Chords Rhythm 10A Rhythmic Dictation: Triple and Triplet Subdivisions Rhythm 10B Rhythmic Dictation: Two-Voice Rhythms Transcription 10

150 151 152 153 155 156 157 158 158

Unit 11 Melody 11A Melodic Dictation: Short Melodies That Modulate to Closely Related Keys Melody 11B Error Detection: Excerpts from Music Literature Melody 11C Phrase Relationships and Cadences Melody 11D Intervals: All Intervals Played Harmonically Melody 11E Models and Embellishments: Chord Progression with Melodic Embellishments Harmony 11A Chord Function Identification: vii°7 (Diminished 7th Chord) Harmony 11B Chords in Music Literature: vii°7 (Diminished 7th Chord) Harmony 11C Aural Analysis: Aspects of Two-Phrase Excerpts Harmony 11D Harmonic Dictation: Chorale Phrases That Modulate Harmony 11E Chord Quality Identification: MM, Mm, mm, dm, and dd 7th Chords Rhythm 11A Rhythmic Dictation: The Quartolet Rhythm 11B Error Detection: More Difficult Rhythmic Errors Transcription 11

161 162 164 165

166

167 169 170 172

173 174 175 176

Unit 12 Melody 12A Melodic Dictation: Modulations to Closely Related Keys Melody 12B Error Detection: Two-Voice Compositions

Contents

179 180

vii

ben01366_fm.qxd

6/8/09

4:17 PM

Page viii

Melody 12C Binary, Rounded Binary, and Three-Part Form Melody 12D Interval Dictation: Two Intervals in Succession Melody 12E Models and Embellishments: I-V-I Progression with Melodic Embellishments Harmony 12A Chord Function Identification: Nondominant 7th Chords Harmony 12B Chords in Music Literature: Nondominant 7th Chords Harmony 12C Aural Analysis: Harmonic and Melodic Relationships in Musical Periods from Haydn Sonatas Harmony 12D Harmonic Dictation: Modulations to Closely Related Keys Harmony 12E Chord Quality Identification: MM, Mm, mm, dm, and dd 7th Chords Rhythm 12A Rhythmic Dictation: Eighth-Beat Values Rhythm 12B Error Detection: Eighth-Beat Values Transcription 12

Unit 14 182 184

184

185 187

188 189

190 191 193 193

Unit 13 Melody 13A Melodic Dictation: Modulation in Two-Phrase Periods Melody 13B Error Detection: Brahms Melodies Melody 13C Binary, Rounded Binary, and Three-Part Form Melody 13D Interval Dictation: Two and Three Intervals in Succession Melody 13E Models and Embellishments: I-V-I Progression with Diatonic Melodic Embellishments Harmony 13A Chord Function Identification: Secondary Dominants of V and ii Harmony 13B Chords in Music Literature: Secondary Dominants of ii, IV, and V Harmony 13C Aural Analysis: Key, Phrase, and Cadence Relationships in Musical Excerpts Harmony 13D Harmonic Dictation: Chorale Phrases Containing 7th Chords Harmony 13E Error Detection: Triads and 7th Chords Rhythm 13A Rhythmic Dictation: Introduction to the Supertriplet Rhythm 13B Error Detection: Eighth-Beat Values Transcription 13

viii

Ear Training

197

Melody 14A Melodic Dictation: Modulation in Two-Phrase Melodies Melody 14B Error Detection: Excerpts from Music Literature Melody 14C Mode Identification: Dorian, Phrygian, Lydian, and Mixolydian Modes Melody 14D Interval Dictation: Three Intervals in Succession Melody 14E Models and Embellishments: I-V-I Progression with Chromatic Melodic Embellishments Harmony 14A Chord Function Identification: Secondary Dominants of IV(iv) and vi(VI) Harmony 14B Chords in Music Literature: Secondary Dominants and Leading-Tone Chords of iii and IV Harmony 14C Aural Analysis: Four-Phrase Excerpt from a Beethoven Piano Sonata Harmony 14D Harmonic Dictation: Chorale Phrases Containing Secondary Dominants Harmony 14E Error Detection: Triads and 7th Chords Rhythm 14A Rhythmic Dictation: Subtriplet in Simple and Compound Meter Rhythm 14B Error Detection: Subtriplet in Simple and Compound Meter Transcription 14

217 218 220 221

221

222

224 224

225 227 228 229 230

199 201 203

204

205

206

207 209 210 211 212 213

Unit 15 Melody 15A Melodic Dictation: Nondiatonic Tones Melody 15B Error Detection: Five-Note Melodic Figures Melody 15C Mode Identification: Dorian, Phrygian, Lydian, Mixolydian, and Aeolian Modes Melody 15D Interval Dictation: Adding Proper Accidentals to Modal Melodies Melody 15E Models and Embellishments: Harmonic Structure with Melodic and Harmonic Embellishments Harmony 15A Chord Function Identification: All Secondary Dominants Harmony 15B Chords in Music Literature: All Secondary Dominants and LeadingTone Chords Harmony 15C Aural Analysis: Phrase, Key, Cadence, and Harmonic Relationships in a Five-Phrase Excerpt from a Beethoven Piano Sonata Harmony 15D Harmonic Dictation: Modulation in Chorale Phrases

233 234

235 236

237 238

239

240 241

ben01366_fm.qxd

6/8/09

4:17 PM

Page ix

Harmony 15E Error Detection: Triads and 7th Chords Harmony 15F Identifying Modulations to Closely Related and Foreign Keys Rhythm 15A Rhythmic Dictation: More Difficult Rhythms Rhythm 15B Error Detection: More Difficult Rhythmic Errors Transcription 15

251

Harmony 16A Chord Function Identification: German and French Augmented 6th Chords and the Neapolitan 6th Chord Harmony 16B Chords in Music Literature: Neapolitan 6th Chords and Augmented 6th Chords Harmony 16C Aural Analysis: Binary, Rounded Binary, and Three-Part Forms Harmony 16D Harmonic Dictation: Chorale Phrases Containing Neapolitan 6th and Augmented 6th Chords Harmony 16E Error Detection: Triads and 7th Chords Rhythm 16A Rhythmic Dictation: Changing Meters Rhythm 16B Error Detection: Review Transcription 16

252

Glossary

267

Transcription Table of Contents

271

242 243 244 245 246

Unit 16 249 250

256 257

259 261 261 262 264

253

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Melody 16A Melodic Dictation: Nondiatonic Tones Melody 16B Error Detection: Short Melodic Segments Based on Intervals Melody 16C Melodic Dictation: Typical Blues Figures Melody 16D Interval Dictation: Two-Voice Modal Compositions Melody 16E Models and Embellishments: Harmonic Structure with Melodic and Harmonic Embellishments

255

Contents

ix

ben01366_fm.qxd

6/8/09

4:17 PM

Page x

Preface

Intelligent listening is the most important thing a musician does. No matter what high level of dexterity and accuracy is achieved with an instrument or voice, success is inevitably limited and regulated by the ability of the ear to discriminate and guide the musical performance. It is thus toward the maximum in aural perception that this book is dedicated. If you enjoy performing and listening to music, you will find this text equally satisfying and productive. However, unlike some of your previous experiences with music, you will be asked to apply conscious thought and concentration in identifying the myriad patterns and diverse tonal shapes that are the very heart of music. If the idea of critical listening is new to you, remember that the vast array of tonal configurations found in music comprises the basic material of the art, and the ingredients are digested to produce aesthetic pleasure. Thus, listening for recognition of musical devices and structures should not hinder aesthetic enjoyment, but should, on the other hand, enhance it considerably. Before commencing this book, we set forth several goals to be achieved in writing it. Among these were:

Included are a variety of approaches to ear training. To mention a few, some exercises include simple dictation, some indicate errors to be found, and others require more complex written responses. The book must be practical. Each series of exercises must develop some kind of practical skill that will be of genuine value in professional life later on. When you have successfully completed this text, you will have acquired the following skills that are essential for any well-equipped musician: 1.

2.

The book must contain a sufficient number of exercises on any one topic for students to obtain a solid grasp of the material. If this is not done, the book will be simply an introduction to problems without adequate means to solve them. It must contain exercises for classroom presentation and extra work for outside practice.

3.

The book must begin at the beginning. The most basic elements of music are intervals, simple melodies, simple triads, scales, and simple rhythms. Most students entering a career in music know these ingredients from sight, but few know them from sound. Until the basics are mastered, the complex idioms of composition cannot be undertaken. 4. The book should be sufficiently diverse to remove the tedium faced when students solve the same problem in the same way day in and day out.

x

Ear Training

You will be able to identify all intervals quickly and accurately. At first, the instructor will play the intervals slowly, allowing you time for an accurate assessment, but later on he or she will increase the tempo of interval dictation so you will learn to identify intervals in a split second. You will be happily surprised at your progress provided that your practice is intensive and regular. After hearing a melody two or three times, you will be able to write it on score paper. The book starts with fairly simple melodies and progresses to those more complex. If you keep up with the class at every step of the way, the more difficult melodies will be taken in stride. Since a large majority of the melodies are taken from printed compositions, you will at the same time become familiar with a considerable amount of music literature. You will be able to hear and name chord progressions. These chords in a series will be explained thoroughly by the instructor as preparation for the actual listening. Sing the chords you are to identify and make sure you know what you are listening for before the exercise starts. At first the instructor will play the progressions very slowly to give you time to distinguish each individual chord and its unique sound. Later on, after experience, your ear will begin to group sounds in a way that makes identification much easier. Here again, only listening itself will help—verbal descriptions are useless. You will be able to distinguish rhythmic patterns, at first quite short and simple. But, as your ear begins to “think,’’ you will discover that your capacity for more complex rhythms is increasing rapidly.

ben01366_fm.qxd

6/8/09

Page xi

After much emphasis on the fundamentals, the book progresses to the integration of all previously learned material. Embellishments of these fundamental structures are used to help you group notes hierarchically. You will begin to listen to entire phrases, no longer with the goal of writing down the notes, but to grasp the larger patterns of notes that form such compositional devices as sequences, rhythmic repetitions, harmonic rhythm, phrase extensions, cadence types, and so on. The transcription exercises, included with this book on compact disc, will help you to increase your musical memory and to develop an understanding of notation used in various musical styles. If your progress is steady and successful to this point, you will find the aural analysis of even larger sections or complete compositions quite within your grasp.

Using Supporting Materials This text is coordinated with a website at www.mhhe .com/et7. After logging on to this website you’ll find the following resources to help you improve your skills and use this text: • An extensive set of drills modeled after various sections of this text. These drills give you the opportunity to practice outside of class as much as you’d like. The drills are designed to work with any web browser/operating system combination on Windows or Macintosh computers. • Audio files corresponding to the examples marked with an (R) in your textbook. Downloading and listening to these files allows you to practice the dictation exercises on your own or do assignments outside of class at your instructor’s discretion. • Audio files for the Transcription Exercises found at the end of each unit in the text.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

5.

4:17 PM

Preface

xi

ben01366_fm.qxd

6/8/09

4:17 PM

Page xii

About the Authors

J. Timothy Kolosick,

Bruce Benward,

PhD, is Professor of Music Theory at the University of Arizona School of Music. He holds degrees from the University of the Pacific, Conservatory of Vienna, University of London, and University of WisconsinMadison. He was a pioneer in the development of high technology applications to music analysis, performance, and instruction. He is the author of numerous articles, books, and award-winning instructional software. His areas of research include computer-based ear training, keyboard orchestras, media-rich Christian worship environments, and workstations for blind musicians.

Professor Emeritus at the University of WisconsinMadison, was the author of several music theory textbooks including Ear Training: A Technique for Listening, Sightsinging Complete, Practical Beginning Theory, and the Music in Theory and Practice series. His distinguished teaching career spanned nearly 50 years, included awards for excellence in teaching from the University of Wisconsin and the University of Arkansas, as well as an honorary doctorate from Bowling Green State University. He served on the editorial boards for the Journal of Music Theory Pedagogy, College Music Symposium, and Computers in Music Research, and was an onsite examiner for the National Association of Schools of Music for 40 years. His career-long research in perception and analysis resulted in the development of the macro analysis system and the founding of the Macro Analysis Creative Research Organization.

ben01366_un01.qxd

6/8/09

4:18 PM

Page 1

NAME

DATE

SECTION

Unit 1 Melody 1A Melodic Dictation: Scalewise (Conjunct Diatonic) Melodies Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before. Sample Melody 1

Sample Melody 2

¦¦¦− . ²²² Š {π ππ π π π 0ð ππ

π π π π π π ð

Sample Melody 3

²² / Š 0π

π

π

π

π

π

π

π

π

ðý

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Each exercise consists of a short melodic phrase. Listen to the phrase as it is played. Complete the phrase on the staff in notation. 1. As you listen to each melody the first time, immediately try to memorize its sound and melodic shape. 2. Do not try to write the melody until you have completely memorized it. You will learn almost nothing by trying to write the melody too early. 3. Before you hear the melody a second time, sing as much of it as you can. 4. A second or third hearing should provide the pitches you missed. Outside class, listen as many times as you need in order to memorize the entire melody. 5. Analyze the melody in your mind, identifying the scale degrees and rhythmic values of each note. Use solfeggio syllables or numbers as directed by your instructor. 6. Only after you have memorized the sound of the melody and have analyzed the structure of the melody, should you attempt to write anything on paper! 7. Observe that when the melody is memorized, you can slow it down in your mind sufficiently to write the notes on the staff as you sing (or preferably think) them. 8. Write the melody on the staff in music notation. 1.

2.

Š 00 π 3.

Ý0 π 0

00 π 4.

00 π

1

ben01366_un01.qxd

6/8/09

4:18 PM

5.

Page 2

6.

Š 00 π 7.

00 π 8.

Ý−. π 0

− .0 π

9.

10.

²/ π 0

² Š /0 π 11.

12.

Ý −− / π 0

−− /0 π

13.

14.

²² 0 0 ð

² Š ² 00 π

16. (R)*

15.

− π Š − − .0 17. (R)

−−− .0 ð 18. (R)

Ý ²²² / π 0 19. (R)

²²² / 0 π 20. (R)

− Š − −− 00 ð 21. (R)

−−−− 00 ð 22. (R)

Ý ²²²² / π 0

²²²² / π 0

23. (R)

24. (R)

− Š − −−− .0 ð

2

Ear Training

−−−−− .0 ð

ben01366_un01.qxd

6/8/09

4:18 PM

Page 3

NAME

DATE

25. (R)

SECTION

26. (R)

²²²² 0 ð Š ²0

²²²² 0 ²0 ð

27. (R)

28. (R)

Ý −− − − / π −− 0

−−−−−− /0 π

29. (R)

30. (R)

²0 π 0

ݲ0 0 π *(R) means recorded

Melody 1B Mode Identification: Major and Harmonic Minor Scales

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1. Your instructor will play melodies based on major and harmonic minor scales. Before listening to the melodies, play major and harmonic minor scales on your instrument or piano until you know their sound well. 2. Sing the same scales until you can sing both major and harmonic minor from any given pitch. 3. Now, listen to the melody once and capture the last pitch in your mind by matching its pitch immediately after it is played. Most of the melodies in this section end on the tonic (first) pitch of the scale. 4. Try to reconstruct the scale by remembering the notes of the melody and forming the scale from your recollections. You may need a couple of hearings before you have all the pitches in your mind. 5. Circle the correct answer (major or minor). 1.

MAJOR

MINOR

6.

MAJOR MINOR

11.

MAJOR MINOR

16.

MAJOR

MINOR

2.

MAJOR

MINOR

7.

MAJOR MINOR

12.

MAJOR MINOR

17.

MAJOR

MINOR

3.

MAJOR

MINOR

8.

MAJOR MINOR

13.

MAJOR MINOR

18.

MAJOR

MINOR

4.

MAJOR

MINOR

9.

MAJOR MINOR

14.

MAJOR MINOR

19.

MAJOR

MINOR

5.

MAJOR

MINOR

10.

MAJOR MINOR

15.

MAJOR MINOR

20.

MAJOR

MINOR

Melody 1C Scale Degree Identification: Single Notes First you will hear a C-major scale, followed by one of the pitches of that scale. Write the number (1 to 7) or syllable (do to ti) of the one pitch played. 1. Sing the scale (using numbers or syllables) until it is familiar to you. 2. If you have difficulty remembering the pitch of all scale degrees, be sure to remember at least 1 and 5 (do and sol). These two can be used as reference tones—landmarks that will help to locate other scale degrees.

Unit 1

3

ben01366_un01.qxd

6/8/09

4:18 PM

Page 4

3. When you hear the single pitch (after the scale is played), sing (or THINK) it immediately. 4. Then, relate it to one of the reference tones, tonic (first scale step) or dominant (fifth scale step)—whichever is closest—and sing stepwise to that reference tone. 5. You will know the identity of the pitch played by the number of scale steps you sang to get to the reference tone. 6. When you are sure of your answer, write it in the appropriate blank. 1.

6.

11.

16.

2.

7.

12.

17.

3.

8.

13.

18.

4.

9.

14.

19.

5.

10.

15.

20.

Melody 1D Intervals: m2, M2, m3, M3 Each exercise consists of a single interval. 1. You can use your knowledge of the major and harmonic minor scale in recognizing intervals. Think of the intervals in this section as pitches of a major or harmonic minor scale: minor 2nd (m2)

=

sounds like the leading tone to tonic (scale degrees 7 to 8 or ti to do) of a major scale

Major 2nd (M2)

=

sounds like the tonic to supertonic (scale degrees 1 to 2 or do to re) in the major scale

minor 3rd (m3)

=

sounds like the tonic to mediant (scale degrees 1 to 3 or la to do) in the minor scale

Major 3rd (M3)

=

sounds like the tonic to mediant (scale degrees 1 to 3 or do to mi) in the major scale

2. When you have related the sound of an interval to pitches found in the major or harmonic minor scale, then you are ready to write the answer. 3. Write the missing note of the interval on the staff. 4. Write the name of the interval in the space provided. The given note is the lower of the two: 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

Ð ŠÐ 11.

12.

ŠÐ

4

Ð

²Ð

Ear Training

Ð 13.

²Ð

Ð 14.

15.

Ð Ð

16.

Ð

Ð

Ð

Ð

Ð 17.

18.

Ð

−Ð Ð

19.

−Ð

20.

²Ð

ben01366_un01.qxd

6/8/09

4:18 PM

Page 5

NAME

DATE

SECTION

The given note is the upper of the two. 21.

22.

ŠÐ 31.

23.

Ð 32.

Š −Ð

Ð 33.

×Ð

²Ð

24.

25.

Ð 34.

27.

Ð 36.

Ð

28.

Ð

Ð

Ð 35.

Ð

26.

37.

−Ð

38.

²Ð

29.

30.

Ð 39.

×Ð

−Ð

Ð 40.

²Ð

Melody 1E Models and Embellishments: Short Melodic Structures 1. Before coming to class, play and sing the melodic structures in the models. Your instructor will review those structures at the beginning of this lesson. 2. Your instructor will play the given musical structure followed by embellishments of that structure. Notice how notes and rhythms are added to the melodic structure. 3. Memorize the sound of each melody and repeat its sound in your mind. Write the notes of the melody on the numbered staves below each model. 4. As you proceed through the lesson, the embellishments will be more elaborate. Keep the structure in mind as you listen to each embellished melody. Try to hear that structure “through” the embellishments. Model A:

Š − 00 ð Embellishments: 1A

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Š − 00 2A

Š − 00 3A

Š − 00 4A

Š − 00

Model B:

ð

Ð

00 ð

ð

Ð

Embellishments: 1B

00 2B

00 3B

00 4B

00 Unit 1

5

ben01366_un01.qxd

6/8/09

4:18 PM

Page 6

5A

5B

Š − 00

00

6A

6B

Š − 00

00

7A

7B

Š − 00

00

8A

8B

Š − 00

00

9A

9B

Š − 00

00

10A

10B

Š − 00

00

One additional example based on these models. See G.F. Handel: The Messiah, “And He shall purify.”

Š − 00 Harmony 1A Chord Function Identification: I and V Triads 1. Make sure you can hear the bass note of four-voice triads in root position. Outside of class, play the following triads and match the pitches of the bass notes by singing them in your own voice range. 1.

2.

3.

Š ππ

² ππ

Ý ππ

π

4.

5.

6.

ππ

ππ

ππ π

π

−π −π

7.

8.

9.

10.

² ππ

−−ππ

²π π

π ²π

²π ²π

π

−π

π π

ππ

π π

! Practice singing the root of chords that you hear in your daily listening.

6

Ear Training

ben01366_un01.qxd

6/8/09

4:18 PM

Page 7

NAME

DATE

SECTION

2. In this section, listen to the four triads in each of these exercises. In class, your instructor may wish to combine certain exercises to challenge you with longer chord progressions. All examples are in the key of C major. Be sure to keep the tonic pitch (C) well in mind. 3. In examples 1–15, all chords are in root position. It will help you to isolate and identify the scale degree (by number of syllables) of each bass note by singing it. These examples use the following chords:

ÐÐÐ

Ý

I

ÐÐÐ V

4. Write the roman numeral analysis in the blanks for the chords played. Notate each musical example as requested by your instructor. In examples 1–15, the number or syllable used to identify the bass can be translated to a roman numeral as shown below: Scale Number 1 5

Syllable or or

do sol

Roman Numeral = =

I V

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

12.

13.

14.

15.

Š

! Ý

Š

! Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Ý 11.–20. (R) 11.

Š

! Ý

Unit 1

7

ben01366_un01.qxd

6/8/09

4:18 PM

Page 8

Examples 16–25 contain chords in inversion. In inverted chords, the root of the chord is not the lowest note. The exercises in Harmony 1D will help you to identify inversions. Practice them with tapes or play chords in inversions on a keyboard instrument. The chords in these examples are chosen from the following harmonies:

Ý ÐÐÐ

ÐÐ Ð

ÐÐ Ð

I

I6

I64

ÐÐÐ

ÐÐ Ð

ÐÐ Ð

V

V6

V64

16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

Š

! Ý

Š

! Ý Harmony 1B Chords in Music Literature: I and V Triads 1. Each exercise consists of four examples from music literature, which include a variety of harmonic rhythms and nonharmonic tones. 2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another. A.

!

B.

C.

π ππ ππ ππ

π π π π π π V

I

V

π ππ π

π π π Ýπ π π I

V

I

D.

ππ π ππ π π π π π π π π π

Š ππ π ππ

I

V

V

I

V

ππ π π π π π I

V

I

3. When the procedure described in number 2 is completed, your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and the same inversions as one of the four models above. 4. Your instructor will tell you how many times he or she will play the music literature example. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below, and prepare for the next example from music literature.

8

Ear Training

ben01366_un01.qxd

6/8/09

4:18 PM

Page 9

NAME

DATE

SECTION

5. There are four examples from music literature. Enter the correct letter (A–D) as the instructor plays each: 1.

2.

3.

4.

6. When the first four examples are completed, use the same procedure for models E–H. These (E, F, G, H) are the remaining four models. Pair them up with the examples from literature (5, 6, 7, 8). E.

!

F.

G.

H.

π

π π π π π π

ππ π ππ π π π π π π

V

I

V

Š π ππ ππ ππ

ππ π ππ

π ππ π

π π π Ýπ π π π

π π π π π π I

V

I

V

5. (R)

I

V

6. (R)

I 7. (R)

I

V

V

I

π π

8. (R)

Harmony 1C Harmonic Rhythm

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Each exercise consists of a short excerpt of music. 1. In this section you will apply your listening experiences to a composition from the literature of music. The strategy is simple to explain but often difficult to put into practice—place an “X” at each point in the music when you hear most (or any) chord factors change enough to form a different harmony. 2. In the first five examples you can follow the melody and note possible changes simply by assessing the melodic pitches. 3. The remaining five excerpts require concentration on the quality and make-up of each harmony. 4. This is your first opportunity to listen especially for harmonic rhythm; do not be discouraged if you make a few mistakes. Review each error carefully, and try to determine what confused you. 5. If you are working outside of class and make a number of errors, play the exercise several times after answering. Assessing the cause of a mistake is the best way to avoid similar errors later on. 6. Place an “X” at each point in the melody where the harmony changes. The example indicates the correct procedure. Example: x

x

−− . π π π ð − Š 0

π ππ π ¼

ππ ð

ππππ ð

¼

1.

² Š ² /0 π

π π π π π π

πππ

π π π π π π π π π π π ðý 3

Unit 1

9

ben01366_un01.qxd

6/8/09

4:18 PM

Page 10

2.

 π    π Š 42  ² π π πl πl πl π π π  ² π π πl πl πl πv ý π ¦ π

π π ² π ² π

Š ²π

π π ¦ π π ² π π π 

π

π π ý π

3.

ππππ π π π π π π ²² π π π π π π ð π π π πππ Š ‡π π \ 4. π ý ¦ π π π π ¾ π −π π π ý π π π π ¾ π −/ − Š 0π π  5.

²² / π π Š 0

π

π

²² π π π π  π π π Š

π

π

π

π π π

π π

π

π

¹ ¾ π π ý π π ¹ ¾ π π ý ²π π

7. In the following exercises, the melody is replaced by melodic rhythm only. Circle the numbers that represent chord changes. If a chord change occurs at another point, place the circle between the numbers. 6.

.0 π π π π π π π π π π π π π π π π ¼ ¹ π π π ¹ π π π ¹ π ¹ π ¹ π    1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

7.

{ð ð 1

2

ðý π ð πý π ð ð 

ð ð

ð ð

¼ ð π ¾π ð π ¼

3

10

12

14

4

5

6

7

8

9

11

13

15 16 17

18

8.

.0 π π 1

10

2

Ear Training

π¹ ¼ 

π π

π ¹ πý π π π 

π ¹ πý π π π 

ð

3

5

7

12

17

4

6

8

9

10

11

13 14 15

16

ben01366_un01.qxd

6/8/09

4:18 PM

Page 11

NAME

DATE

SECTION

9.

.0 π πππππ π π ý π πππππ π π ý π πππππ π πππππ π πππππ π π π ¹     1

2

3

4

5

6

7

8

9

10

11

12

13 14 15

16

17

10.

/0 π π ¾ π π π π π π π ¾ π π π π π ¾ π π π π ¾ π π π π  1

2

3

4

5

6

7

8

9

10

11

12

Harmony 1D Triad Position Identification: Major and Minor Triads Each exercise consists of the three positions of the same triad in any order. Before you begin your instructor will acquaint you with the 1–3–5–3–1 pattern, which is an essential aid in identifying the triad in root position.

Root position

Š Lowest sounding tone: Figured bass:

πÐÐ

1st inversion

2nd inversion

ÐÐ π

πÐÐ

5 3 1

Root * 53

3

3rd * 63

5

5th * 64

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

*Indicates intervals above the lowest-sounding tone.

1. Listen until all three positions have been played. Locate the one in root position by relating it to the 1–3–5–3–1 pattern. Remember that 1–3–5–3–1 means that the 3rd and 5th are above the root—thus, root position. 5 2. When you have located the root position version write 3 in the appropriate blank (1, 2, or 3). 3. Now that you have identified the root, 3rd, and 5th, listen a second time and sing (better yet, think) the 3rd of the triad. When the 3rd you are singing coincides with the lowest-sounding tone of an example, that example is in first 6 inversion. Write 3 below it. 4. Repeat the process as described in number 3, above, but this time sing the 5th of the triad. When the 5th you are 6 singing coincides with the lowest-sounding tone of an example, that example is in second inversion. Write 4 below it. 5. As you become more experienced you will discover that you can determine each position simply by listening to it as a unit—your elaborate mental calculations become automatic! 11.–20. (R) 1.

8.

2.

9.

3.

10.

4.

11.

5.

12.

6.

13.

7.

14.

Unit 1

11

ben01366_un01.qxd

6/8/09

4:18 PM

Page 12

15.

18.

16.

19.

17.

20.

Harmony 1E Chord Quality Identification: Major and Minor Triads Each exercise consists of a single triad. Recognize the quality of these major and minor triads. 1. For numbers 1–20 (triads in a simple position): a. Write large M for major or small m for minor in the blanks provided. b. If your instructor requests it, also write the triad on the staff. The roots of the triads are given. 2. For numbers 21–40 (triads in four voices—a few inversions): a. Circle either large M or small m indicating the sound of the triad played. b. Your instructor may ask you to spell the triad orally in class. 1.

2.

3.

ŠÐ

²Ð

Ý 11. −Ð

12.

4.

5.

Ð

−Ð 13.

Ð

Ð

6.

7.

8.

²Ð

−Ð

14.

15.

Ð 16.

17.

9.

²Ð

18.

Ð

²Ð −Ð

21.

M m

26.

M m

31.

M m

36.

M m

22.

M m

27.

M m

32.

M m

37.

M m

23.

M m

28.

M m

33.

M m

38.

M m

24.

M m

29.

M m

34.

M m

39.

M m

25.

M m

30.

M m

35.

M m

40.

M m

Ð 19.

−Ð

20.

Ð ²Ð

−Ð

10.

Ð

Harmony 1F Triad Factors in the Soprano Each exercise consists of a single chord. Write the number of the chord factor (1, 3, or 5) in the soprano voice. 1. First, you will hear a triad in simple (closest possible) position. Sing it—1–3–5–3–1. 2. Then, the same triad will be played in four-part harmony. Remember that the root will be the bass note, but aside from that the chord tones in the tenor, alto, or soprano voices may be in any order. 3. After the four-voice triad is played, the soprano note will be repeated alone. Sing or think it immediately! Keep its pitch in your mind. 4. Recollect the sound of the simple triad first heard (number 1, above) and determine whether the soprano pitch is the root, 3rd, or 5th. 5. When you are convinced, write 1, 3, or 5 in the blank provided.

12

Ear Training

ben01366_un01.qxd

6/8/09

4:18 PM

Page 13

NAME

DATE

SECTION

Write the number (1, 3, or 5) of the chord factor in the soprano. 13.–24. (R) 1.

7.

13.

19.

2.

8.

14.

20.

3.

9.

15.

21.

4.

10.

16.

22.

5.

11.

17.

23.

6.

12.

18.

24.

Rhythm 1A Rhythmic Dictation: Rhythm Including Half-Beat Values Each exercise consists of a two-measure melody. Complete the rhythm (only) of each exercise on the lines provided below.

4

1. As you hear the preparatory measure(s), count the meter. If the meter is 4 , count 1–2–3–4. 2. After the first hearing: Say or clap the rhythm immediately. 3. After the second hearing: Say meter beats and clap rhythm immediately. If you are sure of the rhythm by now, write it on the appropriate line. 4. If a third hearing is needed, use it to verify rhythms you have written down or to clear up any misconceptions. If you are working with the audiotape or computer program, listen to the rhythm as many times as you require to get the right answer! Attempt to get the answer in three tries, though accuracy is the most important item for the moment.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1.

2.

00 π 4.

42 π 7.

40 π π

3.

/0 π 5.

.0 π π 6.

./ ð 8.

02 π 9.

4/ π π

42 π

Unit 1

13

ben01366_un01.qxd

6/8/09

4:18 PM

Page 14

11. (R)

10.

/0 π ý

12. (R)

.0 π ý

4/ π π

13. (R)

14. (R)

00 π ý

42 π

Transcription 1 Much can be learned by transcribing recorded performances into musical notation. Transcription units in this book offer three types of exercises: 1. Complete transcriptions of pieces of “classical music.” 2. Harmonic function drills using popular and commercial music styles. 3. Harmonic function drills with melodic transcription using popular music styles. In the first type, you will write down the notation of all notes played in a short piece or excerpt. In the second type, you will write a part like guitarists or pianists use to play chord changes with a performing group. In the third type, you will write a “lead sheet” that will contain chord changes and melody for a given selection. Because transcription requires the listener to specify entire compositions on paper, he or she develops a strong bond between written notation and the sounds it represents. During this process, you can develop your own strategies for listening, recognizing, and notating these recorded performances. To get you started, here are some general techniques: 1. 2. 3. 4. 5. 6.

Establish each key in your mind using the appropriate CD track (numbers 49–72). Listen to each musical example several times before you start writing its notation. Conduct along with each selection, establishing the meter and rhythmic relationships in your mind. Sing or play along with the musical compositions. Internalize the sound of each composition. If helpful, use a keyboard or other instrument as you listen to each recording. If necessary, write each selection by dividing it into small sections, double checking your work on each section as you proceed. Try to work with increasingly longer sections and learn how the form of the composition can help you transcribe it. 7. Certain musical events in each composition are provided for you in the worksheets. Use these musical “guideposts” to aid you in the transcription process. Recorded Example 1 in G major Notate the entire musical selection that is played in this example.

² π Š { ππ ¹ ² ππ ¹ Š {π š²{ π ¹ Ý²{ π ¹ 14

Ear Training

¼

¼

¼

¼

¼

¼

¼

¼

ben01366_un01.qxd

6/8/09

4:18 PM

Page 15

NAME

DATE

SECTION

Recorded Example 2: Chord progression using I and V chords in the key of C major. After the two-measure “count off,” measures 1–16 of the following example are played. Write the chord symbol of the triad used in each measure in spaces above the staff. Write each chord’s roman numeral in spaces provided below the staff. Sometimes the chord changes at the bar line and other times the same chord continues into the next bar.

Š {π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

5

9

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

13

Recorded Example 3: Chord progression using I and V chords in the key of B b. After the two-measure “count off,” measures 1–16 of the following example are played, followed by a two-measure “tag” at the end. Write the chord symbol of the triad(s) used in each measure in spaces above the staff. Write each chord’s roman numeral in spaces provided below the staff. Chord changes take place on either the first or third beat of each measure.

− Š−{ π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & & Unit 1

15

ben01366_un01.qxd

6/8/09

4:18 PM

Page 16

5

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

9

13

17

16

Ear Training

ben01366_un02.qxd

6/8/09

4:19 PM

Page 17

NAME

DATE

SECTION

Unit 2 Melody 2A Melodic Dictation: Melodies Using m2, M2, m3, M3 Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before. Sample Melody 2

Sample Melody 1

² ¦¦¦²² .0 π π π π π π π ð ππ

− Š −− { ð π π ð ð π π π Ð ¦π Sample Melody 3

 π ý

π

π π ý

π

π

π

− Š − 24 π

πí ý

ðý

Each exercise consists of a short melody.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1. Create an aural image of the melody. After hearing each melody, immediately try to sing it in its entirety in your mind. 2. Establish an understanding of the melody’s structure. After you can hear the melody in your mind, analyze the melody with solfeggio syllables or numbers. 3. Do not notate the melody until you have completed these two steps. 4. Notate each melody on the appropriate staff below. The first notes are given for the melodies in this section. 1.

²/ Š 0π 3.

−/0 π

4.

² Š ² .0 π 5.

ݲ{

2.

²² . π 0 6.

ð

²{ ð

17

ben01366_un02.qxd

6/8/09

4:19 PM

Page 18

8.–14. (R) 8.

7.

−−− 42

− Š − − 42 π 9.

π

10.

Ý ²²² . π 0

²²² . 0 πý

11.

12.

Š /0 π ý

/0 π

13.

14.

Ý −− − { − π

−−−− { ð

*(R) means recorded.

Melody 2B Mode Identification: Major and Three Forms of the Minor Scale For each exercise write the type of scale you hear. Exercises 1–10 Exercises 11–20 Natural minor

consist of a major, natural minor, harmonic minor, or melodic minor scale. consist of short melodic excerpts from music literature based on one of these scales. follows the key signature.

Ð Ð Ð Ð Ð Ð ŠÐ Ð 1

2

3

4

5

1

Harmonic minor

6

7

8

1

2

2

key signature plus raised 7th degree.

²Ð Ð Ð Ð Ð Ð ŠÐ Ð 1

2

3

4

5

1

Ascending melodic minor

6

7

1

2

8 1

2

2

key signature plus raised 6th and 7th degrees.

²Ð Ð ² Ð Ð Ð Ð ŠÐ Ð 1

2

3 1

2

18

Ear Training

4

5

6

7

8 1

2

ben01366_un02.qxd

6/8/09

4:19 PM

Page 19

NAME

DATE

Major

SECTION

follows the parallel major key signature.

²Ð ²Ð Ð Ð Ð ² Ð Ð ŠÐ 1

2

3

4

5

6

7

1

8 1

2

2

11.–20. (R)

Write the name of the scale in the blank provided. 1.

11.

2.

12.

3.

13.

4.

14.

5.

15.

6.

16.

7.

17.

8.

18.

9.

19.

10.

20.

Melody 2C Scale Degree Identification: Two Notes

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1. The instructor first plays a scale, then two tones of that scale. 2. Identify the two scale degrees played. The instructor will tell you whether to use scale numbers or syllables. 3. For additional help, review Melody 1C. Instructor plays:

ŠÐ 1 do

Ð

Ð

Ð

Ð

Ð

Ð

Ð

2 re

3 mi

4 fa

5 sol

6 la

7 ti

1 do

1.

6.

11.

16.

2.

7.

12.

17.

3.

8.

13.

18.

4.

9.

14.

19.

5.

10.

15.

20.

Unit 2

19

ben01366_un02.qxd

6/8/09

4:19 PM

Page 20

Melody 2D New Intervals: P5 and P4 Intervals studied to date: m2, M2, m3, M3 Each exercise consists of a single interval. The first note is given. 1. Write the second note of the interval on the staff. 2. Place the name of the interval (P4, m2, M3, and so on) in the blank provided. 3. To help you recognize intervals, think of them as parts of a scale: P5

=

tonic to 5th scale degree of a major or minor scale

P4

=

tonic to 4th scale degree of a major or minor scale

M3

=

tonic to 3rd scale degree of a major scale

m3

=

tonic to 3rd scale degree of a minor scale

M2

=

tonic to 2nd scale degree of a major or minor scale

m2

=

leading tone to tonic of a major or harmonic minor scale

The second note is above the given note. 1.

2.

ÝÐ

3.

4.

5.

Ð

Ð

6.

Ý −Ð

13.

14.

8.

Ð 15.

Ð 16.

10.

17.

18.

19.

²Ð ²Ð

−Ð

²Ð

Ð

Ð Ð

−Ð −Ð

9.

Ð

Ð 11.–30. (R) 11. 12.

7.

−Ð

²Ð

20.

−Ð

The second note is below the given tone.

21. ÝÐ

31.

Ý ²Ð

20

22.

23.

Ð 32.

24.

Ð

Ð 33.

Ð

Ear Training

26.

27.

34.

28.

Ð

Ð Ð

Ð Ð

25.

35.

−Ð

29.

30.

Ð

Ð 36.

37.

Ð

Ð 38.

−Ð Ð

39.

Ð

40.

Ð

ben01366_un02.qxd

6/8/09

4:19 PM

Page 21

NAME

DATE

SECTION

Melody 2E Models and Embellishments: Descending Thirds in Two Voices 1. Notice that the model in this section is a group of descending thirds. This model and its embellishments occur very often in Baroque period music. Listen for these in recordings and concerts. Before coming to class play and sing both parts of the model. Your instructor may choose to review this structure in class. 2. Your instructor will play the structure followed by embellishments of that structure. Notice how the thirds are embellished with additional notes and rhythms in each voice. 3. Memorize the sound of each embellishment and repeat its sound in your mind. Write the model’s embellishments on the numbered staves provided. 4. As you proceed through this section, the embellishments will be more elaborate. Keep the structure in mind as you listen to each example. Try to hear that structure “through” the embellishments. Model:

$ ² π 0 %Š 0

ðð

ðð

ðð

ðð

ðý

Embellishments: 1.

$ ² 0 %Š 0 $2. ² 0 %Š 0

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

$3. ² 0 %Š 0 $4. ² 0 %Š 0 $5. ² . %Š 0 $6. ² . %Š 0

Unit 2

21

ben01366_un02.qxd

6/8/09

4:19 PM

Page 22

$7. ² . %Š 0 $8. ² . %Š 0 Harmony 2A Chord Function Identification: I, IV, and V Triads 1. Make sure you can hear the bass note of four-voice triads in root position. Outside of class, play the following triads and match the pitches of the bass notes by singing them in your own voice range. 1.

2.

Š ππ

3.

² ππ

Ýπ π

π

4.

5.

6.

ππ

²π

ππ ππ

π

ππ

7.

π ππ

8.

ππ π

9.

²²π π

10.

ππ

ππ

π π

²π

Practice singing the root of chords that you hear in your daily listening. 2. In this section, listen to the four triads in each of these exercises. In class, your instructor may wish to combine certain exercises to challenge you with longer chord progressions. All examples are in the key of A major. Be sure to keep the tonic pitch (A) well in mind. 3. In examples 1–15, all chords are in root position. It will help you to isolate and identify the scale degree (by number or syllables) of each bass note by singing it. These examples use the following chords:

Ý ²²² ÐÐ Ð

ÐÐÐ

ÐÐÐ

I

IV

V

4. Write the roman numeral analysis in the blanks for the chords played. Notate each musical example as requested by your instructor. In examples 1–15 the number or syllable used to identify the bass can be translated to a roman numeral as shown below: Scale Number 1 4 5

1.

Š

! Ý

22

Ear Training

Syllable or or or

do fa sol

2.

Roman Numeral = = =

I IV V

3.

4.

5.

ben01366_un02.qxd

6/8/09

4:19 PM

Page 23

NAME

DATE

6.

SECTION

7.

8.

9.

10.

12.

13.

14.

15.

Š

! Ý 11.–20. (R)

11.

Š

! Ý Examples 16–25 contain chords in inversion. In inverted chords, the root of the chord is not the lowest note. The exercises in Harmony 1D will help you to identify inversions. Practice them with tapes or play chords in inversions on a keyboard instrument. The chords in these examples are chosen from the following harmonies:

Ý ²²² ÐÐ Ð

ÐÐ Ð

ÐÐ Ð

ÐÐÐ

I

I6

I64

IV

ÐÐ Ð

ÐÐ Ð

IV6

IV64

ÐÐÐ V

ÐÐÐ

ÐÐ Ð

V6

V64

16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Š

! Ý

Š

! Ý

Unit 2

23

ben01366_un02.qxd

6/8/09

4:19 PM

Page 24

Harmony 2B Chords in Music Literature: I, IV, and V Triads 1. Each exercise consists of four examples from music literature, which include a variety of harmonic rhythms and nonharmonic tones. 2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another. A.

!

B.

Šπ π π Ýπ π π V

I

C.

ππ π

π π

ππ π π ππ

π ππ π

ππ π ππ π ππ π ππ π π π

V

I

IV

I

π ππ π π π

ππ π ππ π ππ π

π

V

I

I

V

I

D.

V

I

V

I

IV

3. Your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and same inversion as one of the four models above. 4. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below. 1.

2.

3.

4.

5. When the first four examples are completed, use the same procedure for models E–H. These (E, F, G, H) are the four models. Pair them up with the examples from literature (5, 6, 7, 8).

E.

!

F.

Šπ π π Ýπ π π V

I

5. (R)

G.

H.

π ππ π π π

π ππ π ππ π π π π π π

ππ π π ππ π π ππ π π

π ππ π ππ π π π π π π π

V

IV

I

V

I 6. (R)

I

V 7. (R)

I

IV

V

I

IV

V

I

8. (R)

Harmony 2C Nonharmonic Tones: Introduction Each exercise consists of a nonharmonic tone in a two-voice setting. Write the name of the nonharmonic tone in the appropriate blank. 1. Nonharmonic tones played in this section are: Unaccented passing tone Unaccented neighboring tone Escape tone Anticipation

24

Ear Training

Accented passing tone Accented neighboring tone Suspension (9–8, 7–6, 4–3, 2–3)

ben01366_un02.qxd

6/8/09

4:19 PM

Page 25

NAME

DATE

SECTION

2. Definitions of the nonharmonic tones played in this section are available in the Glossary (or consult your theory text). 3. A sound pattern is a three-note series of pitches, with the nonharmonic tone in the middle. The sound pattern of each nonharmonic tone is especially helpful in ear training. 4. Some items that are common to all of the above listed nonharmonic tones: a. The nonharmonic tone is always dissonant (9th, 7th, 4th, 2nd). b. The nonharmonic tone is always the middle note of the pattern. c. The two notes on either side are always consonant. 5. One nonharmonic tone can be distinguished from another by the pattern of movement—by (S)tep, by (L)eap, or by (R)epeated pitch. The pattern of movement helps to distinguish among all of the above listed nonharmonic tones except the passing tone and the neighboring tone. 6. Passing tones and neighboring tones can be distinguished only by the direction of the movement. passing tone

=

down-down or up-up

neighboring tone

=

up-down or down-up

7. The following example illustrates nonharmonic tones in a one-voice setting. Note that in all instances (1) the nonharmonic tone is dissonant, (2) the nonharmonic tone is the middle note, and (3) the first and third notes are consonant. C = Consonance D = Dissonance Passing tone

Neighboring tone

Escape tone

Suspension

Anticipation

C

D C or C D C C D C or C D C C D C C D C C D C π π π π π π π π π π π π π π π π π Š π π π π S S S = Step

S

S

S

S

S

S

S

L R S L = Leap R = Repeat

S

R

8. Practice playing these patterns until you know them thoroughly. 9. Before playing the two-voice illustrations, your instructor will play randomly some of the one-voice examples to help acquaint you with the distinguishing characteristics of each nonharmonic tone type.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Examples of the nonharmonic tones: UPT π Š ππ

!

Unaccented Passing Tone

Ýπ

π

UNT π APT ππ πππ

ET π ANT ππ πππ

π SUS π π π π Aπ

Accented Passing Tone

Unaccented Neighboring Tone

Accented Neighboring Tone

Escape Tone

Suspension (7 – 6)

Anticipation

π π

π

π π

π

π π

π

π π

π

Unit 2

25

ben01366_un02.qxd

6/8/09

4:19 PM

Page 26

Circle the correct nonharmonic tone abbreviation: Nonharmonic tones are in the upper voice in numbers 1–10. 1.

UPT

APT

UNT

ANT

ET

SUS

A

6.

UPT

APT

UNT

ANT

ET

SUS

A

2.

UPT

APT

UNT

ANT

ET

SUS

A

7.

UPT

APT

UNT

ANT

ET

SUS

A

3.

UPT

APT

UNT

ANT

ET

SUS

A

8.

UPT

APT

UNT

ANT

ET

SUS

A

4.

UPT

APT

UNT

ANT

ET

SUS

A

9.

UPT

APT

UNT

ANT

ET

SUS

A

5.

UPT

APT

UNT

ANT

ET

SUS

A

10.

UPT

APT

UNT

ANT

ET

SUS

A

Nonharmonic tones are in the lower voice in numbers 11–20. 11.

UPT

APT

UNT

ANT

ET

SUS

A

16.

UPT

APT

UNT

ANT

ET

SUS

A

12.

UPT

APT

UNT

ANT

ET

SUS

A

17.

UPT

APT

UNT

ANT

ET

SUS

A

13.

UPT

APT

UNT

ANT

ET

SUS

A

18.

UPT

APT

UNT

ANT

ET

SUS

A

14.

UPT

APT

UNT

ANT

ET

SUS

A

19.

UPT

APT

UNT

ANT

ET

SUS

A

15.

UPT

APT

UNT

ANT

ET

SUS

A

20.

UPT

APT

UNT

ANT

ET

SUS

A

Nonharmonic tones may be in either the upper or lower voice in numbers 21–30. 21.

UPT

APT

UNT

ANT

ET

SUS

A

26.

UPT

APT

UNT

ANT

ET

SUS

A

22.

UPT

APT

UNT

ANT

ET

SUS

A

27.

UPT

APT

UNT

ANT

ET

SUS

A

23.

UPT

APT

UNT

ANT

ET

SUS

A

28.

UPT

APT

UNT

ANT

ET

SUS

A

24.

UPT

APT

UNT

ANT

ET

SUS

A

29.

UPT

APT

UNT

ANT

ET

SUS

A

25.

UPT

APT

UNT

ANT

ET

SUS

A

30.

UPT

APT

UNT

ANT

ET

SUS

A

Harmony 2D Triad Position Identification: Major and Minor Triads Each exercise is a single triad in four-part harmony. Indicate the triad position. Your answers should be: root position

=

35

first inversion

=

63

second inversion

=

64

The techniques in Harmony 1D will help you.

26

Ear Training

ben01366_un02.qxd

6/8/09

4:19 PM

Page 27

NAME

DATE

SECTION

Example: 1.

6.

11.

16.

2.

7.

12.

17.

3.

8.

13.

18.

4.

9.

14.

19.

5.

10.

15.

20.

Harmony 2E Chord Quality Identification: Major, Minor, and Diminished Triads Each exercise consists of a single triad. Recognize the quality of each major, minor, or diminished triad. 1. For numbers 1–10 (triads in simple position): a. Write large M for major, small m for minor, and small d for diminished triads in the blanks provided. b. If your instructor requests it, also write the triad on the staff. The roots of the triads are given. 2. For numbers 11–30 (triads in four voices—a few inversions): a. Write large M, small m, or small d in the blanks provided. b. Your instructor may ask you to spell the triad orally in class. 1.

2.

3.

4.

5.

6.

7.

8.

9.

Ð

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

ŠÐ

−Ð

Ð Ð

²Ð

Ð

11.

21.

12.

22.

13.

23.

14.

24.

15.

25.

16.

26.

17.

27.

18.

28.

19.

29.

20.

30.

Ð

10.

Ð −Ð

Unit 2

27

ben01366_un02.qxd

6/8/09

4:19 PM

Page 28

Harmony 2F Triad Factors in the Soprano and Bass Each exercise consists of a single triad played in four-part harmony. 1. Indicate the chord factor (1–3–5) in the soprano voice. 2. Indicate the chord factor (1–3–5) in the bass voice. SOPRANO FACTOR

BASS FACTOR

SOPRANO FACTOR

BASS FACTOR

SOPRANO FACTOR

BASS FACTOR

SOPRANO FACTOR

BASS FACTOR

11.–20. (R) 1.

6.

11.

16.

2.

7.

12.

17.

3.

8.

13.

18.

4.

9.

14.

19.

5.

10.

15.

20.

Rhythm 2A Rhythmic Dictation: Duple and Triple Subdivisions of the Beat Each exercise consists of a three-measure melody. Complete the rhythm (only) of each exercise on the lines provided.

3

1. As you hear the preparatory measure(s), count the meter. If the meter is 4 , count 1–2–3. 2. After the first hearing: Say or clap the rhythm immediately. 3. After the second hearing: Count the meter beats and clap rhythm immediately. When you are sure of the rhythm, write it on the appropriate line. 4. If a third hearing is needed: Use it to verify rhythms you have written down or to clear up any misconceptions. Listen to the rhythm as many times as you require to get the right answer. Accuracy is the most important item for the moment. The following example indicates the correct procedure. 1. Example

2.

π

/0 ð 3.

πý π π 

ðý

.0 π ý 4.

ý 42 π π 5.

6.

.0 π 28

42 π /0 π

Ear Training

ben01366_un02.qxd

6/8/09

4:19 PM

Page 29

NAME

DATE

7.

SECTION

8.

ý 42 π π

42 π 9.

10.

.0 π 

/0 ð 11.

12.

.0 π ý

/0 π 13. (R)

14. (R)

/0 π

/0 π

15. (R)

16. (R)

.0 π

42 π

Transcription 2 Refer to instructions found in Transcription 1 (page 14). Recorded Example 4 in C major

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Notate the entire musical selection that is played in this example.

$ Š 02 ð Ý2 % 0

π ÿ

ÿ

ð

Recorded Example 5: Chord progression using I, IV, and V chords in the key of E b major. After the two-measure “count off,” measures 1–12 of the following example are played once, followed by a twomeasure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff.

− Š −− { π ¼ π ¼

π π π π Unit 2

29

ben01366_un02.qxd

6/18/09

10:01 AM

Page 30

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

5

9

13

Recorded Example 6: Chord progression plus melody using I, IV, and V chords in the key of C major. After the two-measure “count off,” measures 1–16 of the following example are played twice, once with chords only and once with the melody. This is followed by a two-measure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff. Write the melody on the staff.

Š{π ¼ π ¼

π π π π

1

Š 5

Š 9

Š 13



Š 17

Š 30

Ear Training

ben01366_un03.qxd

6/8/09

4:19 PM

Page 31

NAME

DATE

SECTION

Unit 3 Melody 3A Melodic Dictation: Melodies Using m2, M2, m3, M3, P4, P5 Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before. Sample Melody 2

Sample Melody 1

ππð

π

Š − /0 π ð

 ²π π π π ¦ /4 π π π π í π π

π π π ðý

Sample Melody 3

π

π

π

π π

π

π

π π

π

Ý −. 0

Each exercise consists of a short melody that begins on the tonic pitch. 1. Create an aural image of the melody. After hearing each melody, immediately try to sing it in its entirety in your mind. 2. Establish an understanding of the melody’s structure. After you can hear the melody in your mind, analyze the melody with solfeggio syllables or numbers. 3. Do not notate the melody until you have completed these two steps. 4. Notate each melody on the appropriate staff below. The first notes are given for the melodies in this section.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1.

²/ Š 0 πý 3.

Ý−. 0π 5.

² Š ²{ð 7.

Ý −− 2 π 4

2.

²/ 0 π 4.

− .0 π ý 6.

²² π { 8.

πý −− 42 31

ben01366_un03.qxd

6/8/09

4:19 PM

Page 32

9.–14. (R)* 9.

10.

²²² / Š 0ð

²²² / 0 π

11.

12.

− π Š − − 4/

−−− 4/ π

13.

14.

Ý ²²²² . π 0

²²²² . π ý 0

*(R) means recorded.

Melody 3B Error Detection: Scalewise Melodies with Errors Each exercise consists of a short melody that your instructor will play. Each melody as played contains two pitch errors—pitches with letter names different from those printed in your workbook. 1. Before listening to each melody, sing the printed melody over in your mind—or out loud if you are working outside of class. 2 Each melody as played contains two pitch errors—pitches that have letter names different from those printed. 3. The first pitch of each melody is correct, so you will always have a point of reference. 4. As you listen to the melody played, concentrate on your original version as you sang it. 5. When you hear a melody pitch that surprises you, circle the number above it. 6. Check your answers while you hear the melody again. 1.

1

2

3

4

5

Š 00 π π π π 3.

1

2

3

1

2

3

4

4

Ý ²² 0 π π π π 0 7. (R)

1

2

3

4

Ý −− 0 π π π π 0

32

Ear Training

2.

7

5

6

7

π π ð 5

6

7

π π ð 5

6

7

π π ð

1

2

3

4

5

²0 0 π π π π

π π ð

− Š − 00 π π π π 5. (R)

6

4. (R)

1

2

3

1

2

4

3

5

4

π π π π −−− 00 8. (R)

1

2

3

7

π π ð

00 π π π π 6. (R)

6

4

²²² 0 π π π π 0

6

7

π π ð 5

6

7

π π ð 5

6

7

π π ð

ben01366_un03.qxd

6/8/09

4:19 PM

Page 33

NAME

DATE

9.

1

2

3

4

5

²²²² 0 π π π π Š 0 11.

1

2

3

4

10.

7

6

1

2

3

4

5

−−−− 00 π π π π

π π ð 5

Š − 00 π π π π

6

SECTION

12.

7

1

2

3

4

−00 π π π π

π π ð

6

7

π π ð 5

6

7

π π ð

*(R) means recorded.

Melody 3C Scale Degree Identification: Three Notes 1. The instructor first plays a scale, then three tones of that scale. 2. Identify the three scale degrees played. The instructor will tell you whether to use scale numbers or syllables. 3. The instructor plays this scale.

ŠÐ Ð Ð Ð Ð Ð Ð Ð 1 do

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

These tones are in ascending order:

2 re

3 mi

4 fa

5 sol

6 la

7 ti

1 do

These tones are in mixed ascending and descending order:

1.

17.

2.

18.

3.

19.

4.

20.

5.

21.

6.

22.

7.

23.

8.

24.

9.

25.

10.

26.

11.

27.

12.

28.

13.

29.

14.

30.

15.

31.

16.

32.

Unit 3

33

ben01366_un03.qxd

6/8/09

4:19 PM

Page 34

Melody 3D Interval Review: m2, M2, m3, M3, P4, P5 Each exercise consists of a single interval. The first note is given. 1. Write the second note of the interval on the staff. 2. Place the name of the interval (P4, m2, M3, etc.) in the blank provided. 3. To help you recognize intervals, think of them as parts of a scale or triad: P5

=

tonic to 5th scale degree of a major or minor scale

P4

=

tonic to 4th scale degree of a major or minor scale

M3

=

tonic to 3rd scale degree of a major scale

m3

=

tonic to 3rd scale degree of a minor triad

M2

=

tonic to 2nd scale degree of a major or minor scale

m2

=

leading tone to tonic of a major or harmonic minor scale

The given note is the lower note of the interval.

1.

2.

ŠÐ

3.

Ð

11.–30. (R) 11. 12.

ŠÐ

4.

5.

Ð 13.

7.

8.

9.

Ð

Ð

Ð 14.

10.

Ð

Ð

Ð

Ð 15.

Ð

−Ð

6.

16.

²Ð

17.

18.

19.

²Ð −Ð

Ð

20.

²Ð ²Ð

²Ð

The given note is the upper note of the interval.

21.

22.

ÝÐ

23.

Ð

Ð

24.

25.

26.

Ð

27.

28.

29.

Ð

Ð

Ð

Ð

30.

Ð

Ð 31.

32.

34.

Ð

Ý ²Ð ²Ð

34

33.

Ear Training

35.

36.

−Ð ²Ð

²Ð

37.

−Ð

38.

39.

40.

−Ð −Ð −Ð

ben01366_un03.qxd

6/8/09

4:19 PM

Page 35

NAME

DATE

SECTION

Melody 3E Models and Embellishments: Simple Melodic Structures 1. Play and sing the melodic structure in the model before coming to class. Your instructor will review this structure at the beginning of this lesson. 2. Your instructor will play the given musical structure followed by embellishments of that structure. 3. Write the model’s embellishments on the numbered staves provided. Model:

$ −0 %Š 0 ð

Embellishments: 1.

ð

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

C7

ð

ð

00

Ð F

$2. −0 %Š 0

3.

$4. −0 %Š 0

5.

$6. −0 %Š 0

7.

$8. −0 %Š 0

9.

00 00 00 00

$10. −0 %Š 0 Harmony 3A Chord Function Identification: I, ii, and V Triads Each exercise consists of four triads in four-voice harmony. 1. Listen to the four triads in each of these exercises. All are in the key of G major. Make sure you have the tonic pitch (G) well in mind.

Unit 3

35

ben01366_un03.qxd

6/8/09

4:19 PM

Page 36

2. All triads in numbers 1–15 are in root position. Isolate and identify the scale degree (number or syllable) of each bass note by singing it.

Ý ² ÐÐ Ð

ÐÐÐ

I

ii

ÐÐÐ V

3. Write the analysis of the four triads in the blanks by changing the numbers or syllables to roman numerals. Notate each musical example as requested by your instructor. Scale Number 1 2 5

Syllable or or or

do re sol

Roman Numeral = = =

I ii V

Numbers 1–15 contain root-position triads only: 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

12.

13.

14.

15.

Š

! Ý

Š

! Ý 11.–20 (R) 11.

Š

! Ý

36

Ear Training

ben01366_un03.qxd

6/8/09

4:19 PM

Page 37

NAME

DATE

SECTION

Numbers 16–25 contain inversions:

Ý ² ÐÐ Ð

ÐÐ Ð

ÐÐ Ð

I

I6

I64

ÐÐÐ

ÐÐ Ð

ÐÐ Ð

ÐÐÐ

ii

ii6

ii64

V

ÐÐÐ

ÐÐ Ð

V6

V64

16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

Š

! Ý

Š

! Ý

Harmony 3B

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Chords in Music Literature: I, ii, and V Triads 1. Each exercise consists of four examples from music literature, which include a variety of harmonic rhythms and nonharmonic tones. 2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another. A.

Š ππ

! Ý ππ V6

B.

C.

D.

ππ π ππ −−− ππ ππ ππ ¦ π −−− π ππ ¦ π π π π π π ππ π ππ −− π π π π −− π π π − − π π π π I

V

I

i64

i

ii°6

V

ii°6

i64

V

π𠦦¦ ππ ππ π ππ π π π π π 𠦦¦ π π π π i

I

ii6

V

I

3. Your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and same inversions as one of the four models above.

Unit 3

37

ben01366_un03.qxd

6/8/09

4:19 PM

Page 38

4. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below, and prepare for the next example from music literature. 1.

2.

3.

4.

5. When the first four examples are completed, use the same procedure for models E–H. These (E, F, G, H) are the remaining four models. Pair them up with the examples from literature (5, 6, 7, 8). E.

F.

G.

ππ π π π Š π π π

ππ π ππ π π π π π π

ππ

ii6

V

! π Ý π π ππ π ii

V

I

IV

5. (R)

V

π π

I

6. (R)

H.

ππ ππ ππ ππ ππ ππ

π

I6

V

ii6

7. (R)

I64

ππ

ππ π π π π π π π π π

ππ

I6

I6

ii6

π π

V

8. (R)

Harmony 3C Cadence Identification: Cadence Types Each exercise consists of four chords in four-part harmony. The final two chords represent one of the traditional cadence types. 1. The cadence types: PERFECT AUTHENTIC

V to I with both chords in root position. The tonic is the soprano note in the I chord. V to I or vii˚6 to I with at least one of the following circumstances present: (a) the V may be in inversion. (b) the final soprano note is not the tonic. I, ii, or IV proceeding to V. The first chord of the two may be in inversion. IV to I. In these exercises: V to vi (or VI).

IMPERFECT AUTHENTIC

HALF PLAGAL DECEPTIVE Perfect Authentic

Š ππ π π ππ

!

Imperfect Authentic

π π ππ π Ýπ π π

ππ π π π π π π π π

CM: I

I

38

IV V

Ear Training

I

IV V

Half

Plagal

π

π π

ππ π ππ π π ππ π π

I

I

IV I64

V

π

ππ

Deceptive

ππ ππ π π π π π π π π π π I

I6 IV

I

ππ ππ π ππ π π ππ π π π I

I6

V

vi

ben01366_un03.qxd

6/8/09

4:19 PM

Page 39

NAME

DATE

SECTION

2. In the blanks provided, write the name of the cadence type you hear. The first chord of the four is always the tonic of the key. 1.

5.

9.

13.

2.

6.

10.

14.

3.

7.

11.

15.

4.

8.

12.

16.

Harmony 3D Harmonic Dictation: I(i), IV(iv), and V Triads in Four-Part Phrases Each exercise consists of a phrase containing seven chords in root position. Suggestions for practice: 1. Listen to the phrase. In this assignment the first triad is always the tonic and all triads are in root position. 2. Sing as you listen, matching pitches with the bass notes. 3. With as few listenings as possible, memorize the succession of bass notes. To test yourself, sing them without listening to the phrase. 4. Begin associating solfeggio syllables or scale numbers with the pitches. Remember, in this assignment the first bass note is always the tonic. Gradually you will develop skill in relating each pitch to a specific syllable or number. 5. Convert the syllables or numbers to actual pitches—do fa sol (or 1 4 5) in the key of C, means the notes C F G. 6. When the conversion process is complete, write the pitches on the bass clef staff in notation (remember, stems down). 7. Since all of the triads in this assignment are in root position, you can also write the roman numeral analysis in the blanks below the staves. 8. If your instructor requests, repeat the process with the three remaining voices (soprano, alto, and tenor). 9. If your instructor asks you to write out all four voices, you can check your choices by comparing them with the roman numeral analysis. Do the notes in all four voices match the triad analysis you selected earlier? 2.

1.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

q

!

q

Š { ππ

²

π Ý{π

π ²{ π

CM: I

GM: I

{ π

4.

3.

q

² Š { π

−−−− { ππ

π π

π −− −− {

GM: I

A −M: I

q

! ݲ{

Unit 3

39

ben01366_un03.qxd

6/8/09

4:19 PM

Page 40

6. (R)

5.

q Š−{ π

²² π { π

Ý − { ππ

π ²² { π

q

! Dm:

i

Bm:

7. (R)

i

8. (R)

q

− Š − { ππ

q

²²² { π

! ²²² { ππ

Ý −− { ππ B −M: I

F ²m:

i

Harmony 3E Chord Quality Identification: Writing Major, Minor, Diminished, and Augmented Triads Each exercise consists of a single triad in four-part harmony. Each triad shown is correct except for the accidentals. 1. Write the type of triad (major, minor, diminished, augmented) in the blank below the staves. 2. Write the accidentals necessary to correct each triad. The bass note is always correct. 1.

2.

3.

4.

5.

6.

7.

8.

Š ÐÐ

Ð Ð

ÐÐ

−ÐÐ

ÐÐ

ÐÐ

Ð Ð

Ý ÐÐ

² ÐÐ

Ð Ð

Ð −Ð

−Ð −Ð

ÐÐ

² ÐÐ

! 11.–20. (R) 11. 12.

13.

14.

Š ÐÐ

ÐÐ

ÐÐ

Ð Ð

Ý ÐÐ

Ð ²Ð

−Ð −Ð

ÐÐ

15.

16.

17.

Ð Ð Ð Ð

18.

9.

10.

ÐÐ

Ð Ð

²Ð ²Ð

ÐÐ

19.

20.

Ð ²Ð

ÐÐ

² ÐÐ

Ð Ð

ÐÐ

−ÐÐ

² ÐÐ

−Ð −Ð

Ð ²Ð

Ð Ð

−Ð −Ð

−ÐÐ

! 40

Ear Training

ben01366_un03.qxd

6/8/09

4:19 PM

Page 41

NAME

DATE

SECTION

Rhythm 3A Rhythmic Dictation: Rhythmic Figures Including Half-Beat Values 2 3

4

Most exercises consist of two measures in 4 , 4 , or 4 meter. 1. 2. 3. 4.

For numbers 1–10, the meter signature and first-note value(s) are given. For numbers 11–16, nothing is given, but the instructor will provide the basic beat before beginning these exercises. For helpful suggestions, see Rhythm 1A. Complete the rhythm using a neutral pitch.

1.

2.

00 π π

/0 π

3.

4.

00 π

00 ¼ 5.

.0 π π

6.

00 π π

7.

8.

00 ¹ 9.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

/0 π

00 π  10.

00 π π

5. Write the meter signature and the rhythm using a neutral pitch. The instructor will provide the meter beat before beginning each exercise. 11. (R)

12. (R)

13. (R)

14. (R)

15. (R)

16. (R)

Unit 3

41

ben01366_un03.qxd

6/8/09

4:19 PM

Page 42

Rhythm 3B Error Detection: Dotted Rhythm Values 1. Each exercise consists of six or eight measures of music, and contains errors in two measures (the notation does not correspond with what is played). 2. Before listening to each excerpt, clap, say, or think it through from beginning to end. Make sure that you know what the exercise sounds like as written. 3. Circle the measure number where the notation is different from that played by the instructor. 1.

1.

/0 π π π π 2.

1.

4.

πý π π 

ð

2.

1.

ý ./ ð π ð 4.

3.

3.

1.

5.

5.

3.

Ð ð

ð ð ππ ππð ð

4.

3.

6.

π πý π π π π π ¹ π ð  

2.

2.

6.

π π π π ðý

π

4.

¹ ππ ππ π π π 

/0 π π π 3.

2.

πý π π 

5.

6.

ð ππð

ππÐ

4.

5.

6.

00 ð ý π π ð π π π π ð π π π π π π π π ý π π π Ð    5.

1.

2.

3.

.0 π π π π π π π π π 6.

1.

2.

4.

5.

ð

ππ π π π  

3.

6.

4.

5.

¹ πππ ¹ π ππ π π 4/ π π π π π π π 

7.

8.

¼ π π π πý 

6.

7.

8.

π π ¹ π ý π π ý   

7. (R) 1.

2.

3.

4.

5.

6.

½ ½ Ð ð ð ½ ð ½ ðý π ð ð Ð Ð .0 Ð π π

ð ð Ð

8. (R) 1.

2.

9. (R)

1.

2.

00 ¼ ð ý 42

3.

4.

π π ¹ π π π ð π π πý π π  

/0 π π π π

3.

4.

5.

6.

π π π π π ðý   5.

πý π π π π π π π π π π π π ¼ π π π ð 

Ear Training

6.

Ð

ben01366_un03.qxd

6/8/09

4:19 PM

Page 43

NAME

DATE

10. (R) 1.

00 π π π π ð 11. (R) 1.

SECTION

2.

3.

ππππð

π π π π π π π ¹ π π π π ¹ π π π πý π π π ðý   

4.

2.

3.

5.

4.

6.

5.

6.

00 π ý π π π π π π π π π π π ý π π π π π ð π ð π π π π ð   12. (R) 1.

2.

3.

4.

5.

6.

7.

8.

¾ 4/ π π π π π π π π π π π π π π π π π π π π π π π Transcription 3 Refer to instructions found in Transcription 1 (page 14). Recorded Example 7 in C major Notate the entire musical selection that is played in this example.

Š 42  π

ππ ý ý

π 

Š  ππ





Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Recorded Example 8: Chord progression using I, ii, and V chords in the key of C major. After the two-measure “count off,” measures 1–16 of the following example are played twice, followed by a twomeasure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff.

Š{π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

5

Unit 3

43

ben01366_un03.qxd

6/8/09

4:19 PM

Page 44

9

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & & 

& & & &

& & & &

13

17

Recorded Example 9: Chord progression using I, ii, and V chords in the key of G major. After the two-measure “count off,” measures 1–16 of the following example are played twice, followed by a twomeasure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff.

² Š{π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & & 

& & & &

& & & &

5

9

13

17

44

Ear Training

ben01366_un04.qxd

6/8/09

4:20 PM

Page 45

NAME

DATE

SECTION

Unit 4 Melody 4A Melodic Dictation: Scalewise Melodies and Arpeggiations of I and V Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before. Sample Melody 1

² Š ² /0 π ð

π

π π π π π π ð

π

ð

Sample Melody 2

π

²²² Š {π

π π

π

π π

¼

π

π

π π

Sample Melody 3

π π π π

π π π π

²

² ý ð

π π π π

ݲ { π

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Each exercise consists of a short melodic phrase. Complete the phrase on the staff in notation. 1. Create an aural image of the melody. After hearing each melody, immediately try to sing it in its entirety in your mind. 2. Establish an understanding of the melody’s structure. After you can hear the melody in your mind, analyze the melody with solfeggio syllables or numbers. 3. Do not notate the melody until you have completed these two steps. 4. Notate each melody on the appropriate staff below. The first notes are given for the melodies in this section.

1.

2.

Ý ²² / ð .

²² / ð .

3.

4.

− Š − 40 π

−− 40

π 45

ben01366_un04.qxd

6/8/09

4:20 PM

Page 46

Ý ²²² 0 Ð ý .

²²² 0 ð .

5.

²²² 0 π Š 0¼ π

7.

²²²² / Š 0π

9. (R)*

²²²² 0 π Š 0

11. (R)

13. (R)

Š − .0 π

² Š /0 π πý

14. (R)

−− . π − Š 0

15. (R)

16. (R)

Š − 00 π ² Š /0 π

17. (R)

18. (R)

− Š − − 00 π

*(R) means recorded.

46

Ear Training

6.

¼ ½

²² 0 π 0

8.

¼ ½ 10. (R)

.0 π

²/ 0 ð

12. (R)

ben01366_un04.qxd

6/8/09

4:20 PM

Page 47

NAME

DATE

SECTION

Melody 4B Error Detection: Errors in Melodies Outlining the I, IV, and V Triads Each exercise consists of a melody containing an error or errors in pitch. 1. Melodies 1–20 contain one printing error in pitch. 2. Melodies 21–25 contain three printing errors in pitch. 3. Circle each number representing the tone that is different from the one played.

1.

2.

π ðý Š /0 π π π π π π π π 1

2

3

4

5

6

7

8

9

3.

/0 π π π π π ð ý π

10

1

2

3

4

5

6

7

4.

ݲ0 0πππ ð 1

2

3

²0 π π ð 0

πππ ð

4

5

6

7

8

1

2

π π ð

3

4

π π ² π π 6. π π π π .0 π ² π π Š .0 π

5

π π ð

6

7

8

9

5.

1

2

3

4

5

6

7.

ݲ/ ð 0

π

ð

1

2

3

7

π

8

9

1

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Š − /0 π

5

6

1

2

3

5

1

2

6

7

1

11.

2

3

2

3

4

3

4

12.

Ý ²² 0 ð ý π ðý π Ð 0 1

6

8

9

10

π π π

ðý

4

7

5

6

π π π ðý

−/0 π π π

π ðý

4

7

5

5

Ð

²² 0 π π ð 0

6

1

2

5

6

8

π π ð

Ð

4

7

3

5

Ð

6

14. (R)

− Š − ./ ð ð ð ð ð ð Ð ý

−− ./ ð ð ð ð ð ð Ð ý

2

3

4

5

6

7

1

15. (R)

2

3

4

5

ðý

7

13. (R)

1

ð

10.

π π π

4

² / π ²π π 0

ðý

9.

π

3

πππ

8.

ðý

4

2

πππ

6

8

Ðý

7

8

16. (R)

Ý ²²² . π π π π π π π 4 1

2

3

4

5

6

7

²²² . π π π π π π π π π π 4 1

2

3

4

5

6

7

8

9

10

Unit 4

47

ben01366_un04.qxd

6/8/09

4:20 PM

Page 48

17. (R)

18. (R)

− Š − − .0 ð ð Ð 1

2

3

ð ð Ð

Ð ¦Ð

þ

4

7

9

5

6

8

19. (R)

−−− .0 ð Ð ý ð Ð ð 1

2

3

4

5

20. (R)

²²²² ð Š {

²²²² ² π π π π π ð ð π { π ππ ð ð Ð ππ π ð

1

2

3

4

5

6

7

8

1

2

3

4

5

6

7

8

9

10

11

21. (R)

π  − Š − − 42 π π π π π π π ý π π π π π π π π π π π π 1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

22. (R)

²² . π Š 0

π π

π

π π

π

π π

2

4

5

7

8

1

3

6

πý π π ¹ 

9

10

11

12

23. (R)

π π π π π π Ðq π π ²² 0 π π π Š 0 π π ππ π π π π π π π 1

2

3

24. (R)

² Š /0 π π 1

2

25. (R)

² Š ² 42 π 1

4

5

6

7

8

9 10

11

12

13

14 15

16

17 18 19 20 21 22

π π π π

π π π

π π π ππ ð

3

7

10

4

5

6

8

9

11

12

13 14

15

π π π π π ý π π π π π π π π π ý πq   2

3

4

5

6

7

8

9

10

11

12

Melody 4C Scale Degree Identification: Three Notes 1. The instructor first plays a scale, then three tones of that scale. 2. Identify the three scale degrees played. 3. The instructor will tell you whether to use scale numbers or syllables. The instructor plays this scale:

ŠÐ Ð Ð Ð Ð Ð Ð Ð 1 do

48

23

Ear Training

2 re

3 mi

4 fa

5 sol

6 la

7 ti

1 do

13

14

15

16

ben01366_un04.qxd

6/8/09

4:20 PM

Page 49

NAME

DATE

1.

17.

2.

18.

3.

19.

4.

20.

5.

21.

6.

22.

7.

23.

8.

24.

9.

25.

10.

26.

11.

27.

12.

28.

13.

29.

14.

30.

15.

31.

16.

32.

SECTION

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Melody 4D New Intervals: m6, M6 Intervals studied to date: m2, M2, m3, M3, P4, P5 Each exercise consists of a single interval. The first note is given. 1. Write the second note of the interval on the staff. 2. Place the name of the interval (P4, m6, M6, etc.) in the blank provided. 3. To help you recognize the new intervals, think of them as parts of a scale: Second note ABOVE the first:

M6

=

tonic to 6th of a major scale

Second note BELOW the first:

M6

=

when you hear the second pitch, think of it as the tonic of a major scale

Second note ABOVE the first:

m6

=

tonic to 6th of a minor scale

Second note BELOW the first:

m6

=

when you hear the second pitch, think of it as the tonic of a minor scale

Unit 4

49

ben01366_un04.qxd

6/8/09

4:20 PM

Page 50

The given note is the lower of the two. 1.

2.

ŠÐ

3.

5.

6.

Ð

Ð

13.

Ð

14.

15.

8.

9.

10.

Ð

16.

17.

Ð

Ð

Ð

Ð

18.

19.

20.

²Ð

²Ð

²Ð

²Ð

7.

Ð

Ð

11.–30. (R) 11. 12.

Ý −Ð

4.

−Ð −Ð

²Ð

²Ð

The given note is the upper of the two.

21. ÝÐ

31.

Ý −Ð

22.

23.

Ð

24.

Ð

32.

33.

²Ð

25.

26.

Ð

34.

27.

Ð

Ð

28.

35.

36.

30.

Ð

Ð 38.

39.

40.

−Ð

Ð

²Ð

37.

29.

Ð

Ð

²Ð

²Ð

Ð

Ð

−Ð

Melody 4E Models and Embellishments: 5–6 Patterns in Two Voices 1. Notice that the model in this section is made up of two voices that ascend in oblique motion. Sing both parts of this structure before class. 2. Your instructor will play the structure followed by embellishments of that structure. 3. Write the model’s embellishments on the numbered staves provided.

$Model: Š 00 π Ý0ð % 0

50

π

ð

Ear Training

ð

π ð

π

ð ð

π

π

ð

ð ð

ben01366_un04.qxd

6/8/09

4:20 PM

Page 51

NAME

DATE

SECTION

Embellishments: 1.

$ Š 00 Ý0 % 0 $2. Š 00 Ý0 % 0 $3. Š 00 Ý0 % 0 $4. Š 00

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Ý0 % 0 $5. A five-measure example based on the same model. Š 00 Ý0 % 0

Unit 4

51

ben01366_un04.qxd

6/8/09

4:20 PM

Page 52

Harmony 4A Chord Function Identification: I, ii, IV, and V Triads Each exercise consists of a harmonic progression of four chords in four-part harmony. The harmonies are limited to the I, ii, IV, and V triads.

Ý ²² ÐÐÐ

ÐÐÐ

ÐÐÐ

ÐÐÐ

I

ii

IV

V

Write the roman numeral analysis of the triads in the blanks provided. Notate each musical example as requested by your instructor. Numbers 1–15 contain root-position triads only. 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

12.

13.

14.

15.

Š

! Ý

Š

! Ý

11.–20. (R)

11.

Š

! Ý

52

Ear Training

ben01366_un04.qxd

6/8/09

4:20 PM

Page 53

NAME

DATE

SECTION

Numbers 16–25 contain inversions.

16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

Š

! Ý

Š

! Ý

Harmony 4B Chords in Music Literature: I, ii, IV, and V Triads 1. Each exercise consists of four examples from music literature, which include a variety of harmonic rhythms and nonharmonic tones. 2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

A.

!

C.

B.

² Š π ππ π π

π π π π ݲ π π π π I

IV

ii

V

π ππ π π π π π π π π π π I6

I

ii6

V

D.

ππ ππ π ππ

ππ π π π π π π

ππ ππ ππ π π

ππ ππ ππ π

ii6

I6

I64

V

I

ii6

I64

V

3. Your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and same inversion as one of the four models above. 4. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below. 1.

2.

3.

4.

5. When the first four examples are completed, use the same procedure for models E–H.

Unit 4

53

ben01366_un04.qxd

6/8/09

4:20 PM

Page 54

These (E, F, G, H) are the four models. Pair them up with the examples from literature (5, 6, 7, 8).

E.

!

F.

²π π Š π ππ π π π π Ý ² π π ππ π I

IV

5. (R)

ii6

V

6. (R)

G.

π π π π π π π π π π π π π I

ii6

V

I

H.

π π π π π π π π π π π π

π π π π π π π π π π π π π

I6

ii6

7. (R)

ii6

I64

V

I64

V

I

8. (R)

Harmony 4C Nonharmonic Tones: Two-Voice Examples Each exercise (1–20) consists of a nonharmonic tone in a two-voice setting. Write the name of the nonharmonic tone in the appropriate blank. 1. Nonharmonic tones played in numbers 1–10: Unaccented passing tone Unaccented neighboring tone Escape tone Anticipation

Accented passing tone Accented neighboring tone Suspension (9–8, 7–6, 4–3, 2–3)

2. Review Harmony 2C. 3. Write the name of the nonharmonic tones in the appropriate blanks: 1.

6.

2.

7.

3.

8.

4.

9.

5.

10.

4. Additional nonharmonic tones presented in numbers 11–20: Appoggiatura Pedal point

54

Ear Training

Retardation Changing tone

ben01366_un04.qxd

6/8/09

4:20 PM

Page 55

NAME

DATE

SECTION

5. Observe the additional sound patterns provided by the appoggiatura, retardation, pedal point, and changing tones: C = Consonance D = Dissonance Appoggiatura Retardation C

D C π π Šπ L L = Leap

C

D

Pedal point C

C-D C-D C-D C-D

R S R = Repeat

S = Step

C

D

D

C

Ý π π π π etc. Š π π π π

π π π

S

Changing tones

R R R May oscillate between consonance and dissonance

S

L

S

6. Only the appoggiatura and retardation are three-note patterns. Changing tones usually consist of a four-note pattern distinguished by two dissonances, and the pedal point may be of any length. For a more detailed description of the four nonharmonic tones listed, see the Glossary, your theory text, or the Harvard Dictionary of Music. 7. The following are nonharmonic tone examples in a two-voice setting: Appoggiatura

Šπ

π π

Ýπ

π

Pedal point

Changing tone

π π

π π π −π

π π π π

π

π

Retardation OR

π

π π

π

π π

π

π

π

8. Numbers 11–20 include any of the eleven nonharmonic tone types studied. Write the name of the nonharmonic tone in the appropriate blank: 11.

14.

12.

15.

13.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

16.–20. (R) 16.

19.

17.

20.

18. 9. Numbers 21–30 are examples of nonharmonic tones in a four-voice setting. Write the names of the nonharmonic tones in the appropriate blanks: 21.

26.

22.

27.

23.

28.

24.

29.

25.

30.

Unit 4

55

ben01366_un04.qxd

6/8/09

4:20 PM

Page 56

Harmony 4D Harmonic Dictation: I(i), ii, IV(iv), and V Triads in Chorale Phrases Each exercise consists of a phrase from a chorale. Numbers 7–14 were harmonized by Bach.

1.

2. 3. 4. 5.

Numbers

Harmonic Vocabulary

1–6 7–9

I (i), ii, V I (i) and V only

10–14

I (i), IV (iv), and V only

15–16

I, ii, IV, and V

Nonharmonic Tones

All root position Root position and 1st inversion Root position, 1st inversion, 2nd inversion Root position and 1st inversion

UPT and 4–3 SUS only UPT, APT, and 2–3 SUS UPT, LNT, and 4–3 SUS UPT only

Indicate the roman numeral analysis of each triad in the blanks provided. List nonharmonic tones beneath the harmonic analysis. If the instructor requests it, give the melodic line of both the soprano and bass voices. If the instructor requests it, give the melodic line of both the alto and tenor voices. UPT

1. (R)

UPT π Ý ²² / π 0 DM: I 4. (R)

²/ 0 ππ

−−− /0 ππ π

²/ π 0

−− − / ππ 0

Em:

E −M: I

i

5. (R)

UPT

² Š /0 π π

6.

−− /0 π π

− /0 π

!

UPT

UPT

π ݲ/ π 0 GM: I 7.

ππ π / −0

ππ −− /0

FM: I

B −M: I 8.

²²² Š { ππ

²

{ ππ

!

UPT

Ý ²²² { π π π AM: I

56

Ear Training

UPT

UPT

3. (R)

2. (R)

²² / Š 0 π π

!

Triad Positions

²{ π π GM: I

π

ben01366_un04.qxd

6/8/09

4:20 PM

Page 57

NAME

DATE

SECTION

10.

9.

−− { π π

Š −{ π π

!

UPT

−− { π π

Ý−{ π π UPT Dm:

Gm:

i

i

12.

11.

²²² Š { ππ

²²² π { π

Ý ²²² { π

²²² { π π

AM: I

AM: I

! 13.

14.

² Š /0 ππ

²/ 0 ππ

π ݲ/ π 0

²/ π 0

GM: I6

GM: I

! Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

15.

² Š ²{

!

UPT

16.

²²² UPTπ { ππ

ππ π UPT Ý ²² { π π

π ²²² { π π

DM: I

AM: I

UPT

Harmony 4E Chord Quality Identification: Major, Minor, Diminished, and Augmented Triads Each exercise consists of a single triad in four-part harmony.

Unit 4

57

ben01366_un04.qxd

6/8/09

4:20 PM

Page 58

1. The notes written are on the correct line or space, but may require accidentals to make them conform to what is played. 2. If the triad as written is not the same as the one you hear, add the necessary accidentals to make it conform. 3. The bass note is always correct. The following examples illustrate the correct procedure: EXAMPLES: As written:

As played:

Š π

Correct response: (Add accidentals)

−π

As written:

−π

!

Correct response: (No additions)

As played:

Š ππ

ππ

ππ

Ýπ π

π π

π π

! Ý −ππ 1.

−−ππ 2.

−−ππ

3.

4.

5.

6.

7.

8.

9.

10.

Š ππ

π

ππ

π

ππ

ππ

ππ

π π

ππ

π π

Ý −ππ

π π

π π

−ππ

π π

²π

π π

²π

π −π

−π

! 11.–20. (R) 11. 12.

π Šπ Ý ππ

!

13.

14.

15.

16.

17.

19.

20.

ππ

ππ

π π

ππ

ππ

ππ

ππ

π

π π

π ²π

π −π

−π

π ²π

π −π

ππ

π ²π

π ²π

Rhythm 4A Rhythmic Dictation: Half-Beat Values in Syncopation Each exercise consists of a phrase of music. Complete the rhythm (neutral pitch) on the staff in notation. 1.

ý 4/ π 2.

00 π ý 58

18.

ππ

Ear Training

ben01366_un04.qxd

6/8/09

4:20 PM

Page 59

NAME

DATE

SECTION

3.

./ ð 4. (R)

/0 π π 5. (R)

.0 π

π

6. (R)

.0 π Rhythm 4B Error Detection: Half-Beat Values in Syncopation Each exercise consists of a phrase of music. On one beat, the written rhythm will be different from that played by the instructor. Circle the number representing the beat that is changed. 1.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

00 π ý π π π  1

2

π π π π π π π π π π π π π π π πý π ð  3

4

5

6

7

8

2.

42 π π π π π 1

2

π π π π π 

π π π π π π π π πý 

3

5

4

6

7

8

3.

ý 42 π 1

π π 

π

π π π  

π

2

3

4

5

π π π πý

π π π π  6

7

8

4.

.0 π π  1

π 

π π π

π π 

2

3

π 

π π π π 4

Unit 4

59

ben01366_un04.qxd

6/8/09

4:20 PM

Page 60

5.

/0 π π π π π π

ð

1

π

2

π π π π π π

π π π

3

4

6. (R)

00 π π π π π π

π π π π π π π ð    

1

2

π

3

π π π π ð 4

7. (R)

./ ð π π ð

π π π π π π ð π π π π π π Ð

1

2

3

4

8. (R)

¾ ¾ 40 π π π π π π π π π π π π 1

ππ πππ π π π π

2

3

4

9. (R)

ý 4/ π π π 1

π π π π π

π π π π π

¾ π π 

2

3

4

π

10. (R)

02 π π π π π π π ð π π π π π π π ð 1

2

3

ð π ð π 4

Transcription 4 Refer to instructions found in Transcription 1 (page 14). Recorded Example 10 in C major Notate the entire musical selection that is played in this example.

 Š ./ πð ý π

ð ð ð

ð ð

Š

60

π π

Ear Training

ben01366_un04.qxd

6/8/09

4:20 PM

Page 61

NAME

DATE

SECTION

Recorded Example 11: Chord progression using I, ii, IV, and V chords in the key of C major. After the two-measure “count off,” measures 1–12 of the following example are played twice, followed by a twomeasure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff. Do not regard “vamping” in the bass with the root and fifth of a chord as a change of inversion.

Š {π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & & 

& & & &

& & & &

5

9

13

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Recorded Example 12: Chord progression plus melody using I, ii, IV, and V chords in the key of D major. After the two-measure “count off,” measures 1–16 of the following example are played three times, once without the melody and twice with the melody. This is followed by a two-measure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff. Write the melody on the staff. Do not regard “vamping” in the bass with the root and fifth of a chord as a change of inversion. Note: This tag is a little different.

²² Š {

π ¼ π ¼

π π π π

1

² Š ²

Unit 4

61

ben01366_un04.qxd

6/8/09

4:20 PM

Page 62

5

² Š ²

9

²² Š

13

² Š ²

17

²² Š

62

Ear Training



ben01366_un05.qxd

6/15/09

10:38 AM

Page 63

NAME

DATE

SECTION

Unit 5 Melody 5A Melodic Dictation: Melodies Outlining the I, IV, V (and vii°6) Triads Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before.

Sample Melody 1

²²² / ¹  π π π π π π ðý Š 0 π π π π π π π π Sample Melody 2

Sample Melody 3

π π π π

πý π

π ðý

π

Ý ²² ‡

π

π

π

²π

πý π π ý π π π

π

ð π π π

π

π

Š − /0 π

ý

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Each exercise consists of a short melody. 1. Create an aural image of the melody. After hearing each melody, immediately try to sing it in its entirety in your mind. 2. Establish an understanding of the melody’s structure. After you can hear the melody in your mind, analyze the melody with solfeggio syllables or numbers. 3. Do not notate the melody until you have completed these two steps. 4. Notate each melody on the appropriate staff below. The first notes are given for the melodies in this section. 1.

2.

Š /0 π 3.

ݲ0 0π 5.

Š /0 π

π

.0 π

π 4.

²/ π 0

π

π

6.

². 0 π

π 63

ben01366_un05.qxd

6/15/09

10:38 AM

Page 64

7. (R)

π Š − /0 8. (R)

ý Ý0 π 0

9. (R)

− Š − /0 ¹

π

π

10. (R)

²/ Š 0π 11. (R)

² Š /0 π 12. (R)

²²²² ² . Š ² . π 13. (R)

− Š − −− -.4 π

π π

*(R) means recorded.

Melody 5B Error Detection: Excerpts from Music Literature Each exercise consists of a short melody with three printing errors in pitch. 1. Review Melody 4B. 2. Circle the numbers representing the tones that are different from those played by the instructor. 1.

²²² . π π π π Š 0 1

64

2

Ear Training

3

4

π π π π π

²π ²π π π π π π π 

5

10

6

7

8

9

11

12

13

14

15 16 17

ben01366_un05.qxd

6/15/09

10:38 AM

Page 65

NAME

DATE

SECTION

2.

πý

Š − .0 π 1

π

2

3

π

π

πý

π πý

π

π

π

4

5

6

7

9

10

11

8

3.

− Š − /0

ð

π π

π π ð

1

2

4

3

5

6

ð

π π

π π ð

7

8

10

9

11

12

4.

− Š − −−− /0

 πý π π

π π π 1

2

3

4

5

6

π π π

π π π π π

7

10 11 12 13 14

8

9

5.

  ²  Š ² .0  π π π π π  π π π π π π π π π π π π π π π π   π π 1

2 3

4

5 6

7

8 9 10

11 12 13

14 15 16

17 18 19

20 21 22

23

6. (R)

².  π πý π π π π  ý π π  π π π π ý ý π Š 0 πý π π π π π π π π  π 1

2

3 4

5

6 7

8 9

10

11 12 13 14

15 16 17 18

19 20 21 22

23

7. (R) 3

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

²  Š .0 π ý π π π ý π ý π π π ð 1

2

3 4

5

6 7 8

πý π πý π π πý π π π π π π ð  3

9

10 11 12 13 14 15

16 17 18 19 20 21 22

8. (R)

² ðý π π π π π π ð π Š { 1

2

3

4

5

6

7

ð ý π ðý π π π π π π π ð

8 9

10

11

12

13 14 15 16

17 18 19

9. (R)

− Š − −−− 00 π ý π π π ý π π 1

2 3

4

5 6

πý π πý π ð

πý π π πý π π πý π πý π ð

7

12 13 14 15 16 17

8 9 10 11

18 19 20 21 22

Unit 5

65

ben01366_un05.qxd

6/15/09

10:38 AM

Page 66

π π ππππ π

10. (R)

π π ðý Ý ²² 1 π π π π π π π 0 3

1

2

3 4 5 6

7

8

9

π π ðý

3

10

11 12 13 14 15 16 17

18 19

20

Melody 5C Melodic Figure Identification: Sequence and Rhythmic Repetition Each exercise consists of a melodic excerpt from music literature that contains a sequence or a rhythmic repetition. SEQUENCE

The immediate restating of a melodic figure at a higher or lower pitch so that the structure of the figure is maintained. Each unit is called a segment.

Tchaikovsky: Symphony no. 6

Ý ²² 1 π π π π π π π 0

π π ðý

π π πππ π π

3

3

Sequence Seg. 1

RHYTHMIC REPETITION

π π ðý

Sequence Seg. 2

The rhythm of a significant portion of the excerpt is repeated. The pitches (at least a majority) are not repeated.

Weber: Jubel Ouvertüre

ð π πý π π ð π ð ²²²² / ð π π ý π π ð π ð ¼ Š ¼  0  Rhythm

Same rhythm repeated

Listen carefully to each melody as played and circle: SEQUENCE RHYTHMIC REPETITION NEITHER

when you hear a sequence when you hear a rhythm repeated but no melodic sequence when you hear neither a sequence nor a repeated rhythm

1.

SEQ.

RHY. REP.

NEITHER

8.

SEQ.

RHY. REP.

NEITHER

2.

SEQ.

RHY. REP.

NEITHER

9.

SEQ.

RHY. REP.

NEITHER

10.

SEQ.

RHY. REP.

NEITHER

3.–6. (R) 3.

SEQ.

RHY. REP.

NEITHER

11.

SEQ.

RHY. REP.

NEITHER

4.

SEQ.

RHY. REP.

NEITHER

12.

SEQ.

RHY. REP.

NEITHER

5.

SEQ.

RHY. REP.

NEITHER

13.

SEQ.

RHY. REP.

NEITHER

6.

SEQ.

RHY. REP.

NEITHER

14.

SEQ.

RHY. REP.

NEITHER

7.

SEQ.

RHY. REP.

NEITHER

66

Ear Training

ben01366_un05.qxd

6/15/09

10:38 AM

Page 67

NAME

DATE

SECTION

Melody 5D New Interval: The Tritone Intervals studied to date: m2, M2, m3, M3, P4, P5, m6, M6 Each exercise consists of a single interval. The first note is given. 1. Write the second note of the interval on the staff. 2. Place the name of the interval in the blank provided. 3. The tritone (augmented 4th and diminished 5th) occurs in both major and harmonic minor from 4th to 7th scale degrees. Most musicians find it difficult to associate the sound with scales because melodic skips of a tritone are not very numerous. 4. The tritone occurs in the diminished triad as well, but it too is not as common as either the major or minor triad. 5. Imagine the sound of a P5th and diminish that interval by a half-step. 6. Memorize the unique sound of the tritone. Listen to it many times until it is firmly entrenched in your mind. This way you will have instant access to it and will not have to think of it in relation to other intervals. It’s not easy to do, but the time spent will be well worth it. The given note is the lower note of the interval. 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

Ð ŠÐ

Ð

11.–30. (R) 11. 12.

ŠÐ

−Ð

Ð

Ð 13.

14.

−Ð

Ð 15.

16.

17.

Ð

²Ð ²Ð

Ð

Ð

×Ð

18.

−Ð

Ð Ð 19.

20.

Ð ²Ð

The given note is the upper note of the interval.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

21.

²Ð

22.

23.

24.

²Ð

Š Ý −Ð

32.

Ð

33.

²Ð

26.

34.

27.

28.

29.

−Ð ²Ð ²Ð

Ð 31.

25.

−Ð 35.

−Ð 36.

Ð

Ð

37.

38.

Ð ²Ð 39.

²Ð

40.

²Ð

²Ð

−Ð

30.

Ð

Melody 5E Models and Embellishments: Descending 6ths in Two Voices 1. Notice that the model in this section is made up of two voices that descend in parallel 6ths. Sing both parts of this structure before class.

Unit 5

67

ben01366_un05.qxd

6/15/09

10:38 AM

Page 68

2. Your instructor will play the structure followed by embellishments of that structure. 3. Write the model’s embellishments on the numbered staves provided.

$Model: π 0 %Š 0 π Embellishments: 1.

$ 0 %Š 0 $2. 0 %Š 0 $3. 0 %Š 0 $4. 0 %Š 0 $5. . %Š 0 $6. . %Š 0 $7. . %Š 0 $8. . %Š 0

68

Ear Training

ð ð

ð ð

ð ð

ð ð

ðý ðý

ben01366_un05.qxd

6/15/09

10:38 AM

Page 69

NAME

DATE

SECTION

Harmony 5A Chord Function Identification: I(i), ii(ii°), IV(iv), and V Triads and Inversions Each exercise consists of a series of four chords in block harmony. In the blanks provided, write the analysis of each of the four chords. Notate each musical example as requested by your instructor. Numbers 1–15 contain the following chords only (root position):

Ý ²² ÐÐÐ

ÐÐÐ

ÐÐÐ

ÐÐÐ

I

ii

IV

V

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

12.

13.

14.

15.

Š

! Ý

Š

! Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Ý 11.–20. (R) 11.

Š

! Ý

Unit 5

69

ben01366_un05.qxd

6/15/09

10:38 AM

Page 70

Numbers 16–25 contain the following chords only:

Ý − ÐÐÐ Dm:

i

ÐÐ Ð

ÐÐ Ð

ÐÐ Ð

ÐÐÐ

ÐÐ ² ÐÐ ² ÐÐÐ Ð Ð

i6

i64

*ii°6

iv

iv6

V6

V

*The diminished supertonic triad is seldom found in root position.

Numbers 16–25 contain inversions. 16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

Š

! Ý

Š

! Ý

Harmony 5B Chords in Music Literature: I(i), ii(ii°), IV(iv), and V Triads 1. Each exercise consists of four examples from music literature, which include a variety of harmonic rhythms and nonharmonic tones. 2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another. A.

Š−

π

! Ý − ππ IV

B.

C.

D.

π π ππ − π π π ππ π − ππ ππ π π

π π π

π − π ππ ππ π ππ π π π − π π

ii6

I64

V

ii

V

I

I

I

ii6

I64

−−− ππ ππ ¦ π − π π ππ −− − π π π − V

iv

i64

V

ππ ππ i

3. Your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and same inversions as one of the four models above.

70

Ear Training

ben01366_un05.qxd

6/15/09

10:38 AM

Page 71

NAME

DATE

SECTION

4. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below, and prepare for the next example from music literature. 1.

2.

3.

4.

5. When the first four examples are completed, use the same procedure for models E–H. These (E, F, G, H) are the remaining four models. Pair them up with the examples from literature (5, 6, 7, 8). E.

F.

G.

Š − ππ ππ π π

− π π π

Ý − π ππ ππ ππ π

ππ π π − π π

! ii

ii6

V

I

5. (R)

ii6

I

6. (R)

H.

π − ππ ππ π ππ − π ππ π ππ π π π π π π − π π π − ππ ππ ππ ππ

I64

V

I

7. (R)

IV

V

I

IV

I

V

I

8. (R)

Harmony 5C Harmonic Rhythm and Nonharmonic Tones Each exercise consists of a phrase of homophonic music. 1. In each of the following five exercises you have been given the rhythm of the melody, numbers indicating the melody tones, and circles around each number indicating a nonharmonic tone. 2. Place an “X” above each melody note where the harmony changes. 3. Above the circled numbers, indicate the type of each nonharmonic tone.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1.

/0 π π 1

2

π π πý π π

πý π π π πý π π   

π π π

3

8

15

4

5

6 7

9

10 11

12

13 14

16

17

2.

π π π π π π π π π π π π ðý

42 π π π π π π 1

2

3

4

5

6

7

8

9

10 11 12

13 14 15 16 17 18

19

3.

/0 π π π π π 1

2

3

4

5

π π π π π

π π π π

π ¼

6

11

15

7

8

9

10

12

13

14

¼

Unit 5

71

ben01366_un05.qxd

6/15/09

10:38 AM

Page 72

4.

.0 π π π 1

2

3

π π

π

π π π π 

π π

π

π ¹ 

4

6

7

11

13

14

5

8

9

10

12

5.

42 π π 1

2

π π π π π π π π π π π π π π π π     3

4

5

6

7

8

9

10 11

12

13

14 15 16 17

Harmony 5D Harmonic Dictation: I(i), ii, IV(iv), and V Triads in Chorale Phrases Each exercise consists of a phrase from a chorale. Numbers 1–6: Numbers 7–10: 1. 2. 3. 4.

All triads are in root position. Triads may be in inversions as well as root position.

Indicate the roman numeral analysis of each triad in the blanks provided. List any nonharmonic tones beneath the harmonic analysis. If the instructor requests it, give the melodic line of both the soprano and bass voices. If the instructor requests it, give the melodic line of both the alto and tenor voices.

² / 1.π π Š 0π

2.

3.

− /0 π

−− /0 ππ π

ݲ/ π 0

π / −0 π

π −− / π 0

GM: I

FM: I

B −M: I

!

!

²² / 4.π Š 0 π π Ý ²² / π 0 DM: I

72

Ear Training

5.

6.

−−− /0 π

−− /0 π

π −−− /0 π

ππ −− /0

E −M: I

Gm:

i

18

ben01366_un05.qxd

6/15/09

10:38 AM

Page 73

NAME

DATE

SECTION

7.–10. (R)

−− 7.π − Š {π

!

8.

−− { π

π Ý −− { π π −

π −− { π

UPT Cm:

i

Gm:

9.

i

10.

Š − { ππ

−−−− { π

Ý−{ π

π −− −− { π

! FM: I

Fm:

i

Harmony 5E Error Detection: Single Triads in Four Parts Each exercise consists of a single triad. The first five examples are triads in root position, and the remaining five are first inversions (the bass note is the third of the triad). As played by the instructor, one of the four voices contains an error in pitch. Indicate the voice containing the error: Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

S = soprano

A = alto

T = tenor (no errors in the bass)

1. Play each exercise on a piano with the damper pedal depressed. Try to match (by singing) the pitch of each voice (soprano, alto, tenor, and bass). Use an octave substitution for those voices out of your range. 2. When you can do this with accuracy, try the exercises below. 3. In class, match the pitches of the voices by imagining rather than actually singing the pitches. 4. Reconstructing sounds in your mind is called tonal imagery, and mastering this trick is one of the most important skills you will acquire in an ear-training course!

Ex. A 1.

Š ππ

3.

2.

4.

6.

7.

8.

ππ

π

ππ

ππ

ππ

ππ

π

π π

π

ππ

ππ

! Ý ππ

5.

ππ

9.

10.

ππ

π π

ππ

π

π

ππ Unit 5

73

ben01366_un05.qxd

6/15/09

10:38 AM

Page 74

Rhythm 5A Rhythmic Dictation: Introduction to Quarter-Beat Values Each exercise is a short melodic phrase. Numbers 1–6 consist of two measures each and are intended to introduce quarter-beat values. Numbers 7–14 are taken from music literature. 1. Complete each rhythm on the single line provided. 2. The value of the first note is given in all exercises. 1.

2.

.0 π ý 3.

.0 π ý 4.

/0 π ý

.0 π 5.

6.

/0 π ý

/0 π

7.

{ð 8.

¹ 42 9.

4/ π π π 10. (R)

45 π 11. (R)

{π 12. (R)

.0 ¾ π π π 74

Ear Training

π 

ben01366_un05.qxd

6/15/09

10:38 AM

Page 75

NAME

DATE

SECTION

13. (R)

/0 π  14. (R)

/0 π Rhythm 5B Error Detection: Quarter-Beat Values Each exercise contains a melodic phrase with one rhythmic error. Circle the number representing the section of the phrase containing the rhythmic error. 1.

40 π

πý π π π π π π πý π π πý π ¹ π π π ¹ π π π ¾ π π π π  1

2

3

3

3

4

2.

./ ð ð ð 1

ð ýý π ð 

π π ð ð

πý π π π π π π π Ð 

2

3

4

5

3.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

00 π π π π 1

πý π π π 

π π π π π π ý π ð ýý 

2

3

π Ð 

4

5

4.

00 π π ý π π π π π π π π ý π π π π π π π π ý π π π π π ð  1

2

3

4

5. (R)

.0 π π ¾ π ¹ ¾ π π π π ý π π π π π π ý π π ý π π π π π ð   1

2

3

4

5

π 6

Unit 5

75

ben01366_un05.qxd

6/15/09

10:38 AM

Page 76

6. (R)

/0 π π π ý π π π π π π ý π π π π π π ý π π ý π π  1

2

3

4

7. (R)

/0 π ý π π ý π π ý π π ý π π 1

π π π π π π π π π π π π π π π ¾ ¹ 

2

3

4

5

8. (R)

{π π π π 1

2

πππ πππ πππ πππ π πππππππππππ 3

4

Transcription 5 Refer to instructions found in Transcription 1 (page 14). Recorded Example 13 in C major Notate the entire musical selection that is played in this example.

π Š .0 π

!

¹ π  π Ý . ¹ π 0

¹

Š

 

Ý

 

! Š

! Ý 76

Ear Training

5

6

ben01366_un05.qxd

6/15/09

10:38 AM

Page 77

NAME

DATE

SECTION

Š



Ý



! Recorded Example 14: Chord progression plus melody using i, ii°6, iv, and V chords in the key of C minor. After the two-measure “count off,” measures 1–16 of the following example are played once, followed by a twomeasure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff.

− Š −− { π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

5

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

9

13

17

Recorded Example 15: Chord progression plus melody using i, ii°6, iv, and V chords in the key of G minor. After the two-measure “count off,” measures 1–16 of the following example are played twice, once without the melody and once with the melody. This is followed by a two-measure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff. Write the melody on the staff.

Unit 5

77

ben01366_un05.qxd

6/15/09

10:38 AM

− Š − /0 π π π

Page 78

π π π

1

− Š− 5

− Š− 9

− Š− 13

− Š− 17

− Š−

78

Ear Training



ben01366_un06.qxd

6/8/09

4:24 PM

Page 79

NAME

DATE

SECTION

Unit 6 Melody 6A Melodic Dictation: Intervals of a 7th Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before. Sample Melody 1

ð

Š −{π

π

π

ðý

π π π π

Ð

Sample Melody 2

− Š− ‡π π π πππ π ð

π π π ππππππ ππππ

Sample Melody 3

π

π ππ

ππ

π πππ π π

πππ

ππππ π

π π

݇

π

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Each exercise consists of a short melody. Numbers 1–6 introduce the intervals of a 7th, while numbers 7–13 are excerpted from the works of J.S. Bach. 1. Create an aural image of the melody. After hearing each melody, immediately try to sing it in its entirety in your mind. 2. Establish an understanding of the melody’s structure. After you can hear the melody in your mind, analyze the melody with solfeggio syllables or numbers. 3. Do not notate the melody until you have completed these two steps. 4. Notate each melody on the appropriate staff below. The first notes are given for the melodies in this section. Incomplete final measures are marked “inc.” In numbers 1–10 the given pitch is the tonic: 1.

2.

² ð Š { 3.

Ý − 2 πý 4

² { π 4.

− 42 π 79

ben01366_un06.qxd

6/8/09

4:24 PM

Page 80

5.

6.

²² / π 0

²² / Š 0π 7.

inc.

π Š .. 8.

inc.

Š − .. π 9.

² Š .. π

inc.

π π

10. (R)*

²²²² . Š .π π

inc.

11. (R)

². π π Š .

12. (R)

inc.

inc.

Ý. π π . 13. (R)

² Š ² 42 π *(R) means recorded.

Melody 6B Error Detection: Schubert Melodies Each exercise consists of a phrase of music by Schubert. Circle the numbers representing the three pitches that are different from those played.

80

Ear Training

inc.

ben01366_un06.qxd

6/8/09

4:24 PM

Page 81

NAME

DATE

1.

ðý

²²²² / π π π Š 0 1

2

3

4

2.

2 3 4

π π π

ð

5

8

6

7

π π π

ðý

π 9

10

13

11

12

π π ð ½ πý π π π ð π π π π ð ½ π πý  

− πý π π π ð ½ − Š ‡  1

SECTION

5

6

7 8 9

10

11 12 13 14

15 16 17 18 19 20

3.

− Š − /0

πýπ π ð π π π π π π π π ð π ²ð ²π π ²π π π π π ð π ð 1

2

3

4

56

7 8 9

10 11

12 13 14 15 16 17 18 19 20 21 22 23 24 25

4.

² π πππ ð Š /0 π ð π ð π ð π ð π π π π π π π π π 1

2

3

4

5

5.

Ý ²² / π 0

6

7

8

9 10 11 12 13

πý π πý π 

πý π π π π π

π

2

4

8

14

3

5 6

7

9 10

6.

2

π

ð

− Š − − /0 π π π Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

19 20 21

π ý π

1

1

14 15 16 17 18

3

4

5

ð

π

6

7

11

12

22

ð

13

π π π

15

π π 

8

9

10

11

12

7.

²²² ý π π π π π ð ðý π π π π π Š ‡¼ π π π π 1

2

3

4

5

6

7

8

9

10

11

12 13 14 15

16

8.

² Š /0 π ð π ð π π πππ ð π ð π ð π ð 1

2

3

4

5

6

7 8 9

10

11

12

13

14

15

16

Unit 6

81

ben01366_un06.qxd

6/8/09

4:24 PM

Page 82

9.

π   − Š − − 42 π π π π π π π ý π ¹ π π π π π π π π π π π 1

2

3

4

5

6

7

8

9

10

11 12 13 14 15 16

17 18 19 20

10.

πý π π π π π π π π ýπ π π π π π π π π Š − /0 ¼ ¼ 1

2 3

4

5

6

7

8

9

10

11 12 13

14 15

16 17 18

Melody 6C Melodic Figure Identification: Sequence, False Sequence, and Rhythmic Repetition Each exercise consists of a short melodic excerpt containing a sequence, a false sequence, or a rhythmic repetition. Indicate which of the following devices is contained in each excerpt. SEQUENCE

Š − /0 π

The immediate restating of a melodic figure at a higher or lower pitch so that the structure of the figure is maintained.

πý

π π ý π π

¼

π

Sequence Seg. 1 FALSE SEQUENCE

Š − /0 π

πý

¼

One or more notes of the figure is repeated and the remaining notes are sequenced.

π π ý π π

¼

π

RHYTHMIC REPETITION

πý

π π ý π π

¼

Repeated note Sequence Seg. 2

Sequence Seg. 1

πý

π π ý π π

Sequence Seg. 2

Repeated note

Š − /0 π

πý

The rhythm is repeated, but the pitches are not sequenced or repeated.

π π ý π π Figure

¼

π

πý

π 

πý π π

¼

Rhythm only repeated

Listen carefully to each melody as played; circle the device contained in the excerpt. 1. 2. 3. 4.

82

SEQUENCE FALSE SEQUENCE RHYTHMIC REPETITION NONE

Ear Training

when you hear a sequence when you hear a false sequence when you hear a rhythm repeated but no melodic sequence when you hear none of the three devices listed above

ben01366_un06.qxd

6/8/09

4:24 PM

Page 83

NAME

DATE

1. Sequence 2. Sequence 3. Sequence

False sequence False sequence False sequence

Rhythmic repetition Rhythmic repetition Rhythmic repetition

None None None

4.–7. (R) 4. Sequence 5. Sequence 6. Sequence 7. Sequence 8. Sequence 9. Sequence 10. Sequence 11. Sequence 12. Sequence

False sequence False sequence False sequence False sequence False sequence False sequence False sequence False sequence False sequence

Rhythmic repetition Rhythmic repetition Rhythmic repetition Rhythmic repetition Rhythmic repetition Rhythmic repetition Rhythmic repetition Rhythmic repetition Rhythmic repetition

None None None None None None None None None

SECTION

Melody 6D New Intervals: m7 and M7 Intervals studied to date: m2, M2, m3, M3, P4, P5, m6, M6, A4, D5 Each exercise consists of a single interval of a m6, M6, m7, or M7. The first note is given. 1. Write the second note of the interval on the staff. 2. Place the name of the interval in the blank provided. 3. The best way to identify both the major and minor 7th is to practice singing them above and below a variety of given pitches. Soon you will have them well in mind and can recognize their peculiar qualities without having to rely on a special system. 4. Another method, of short-term benefit, is to think of major and minor 7ths as inversions of minor or major 2nds— easier to identify. Sing an octave above or below (depending on the situation) to get into proper range. Then, sing up or down a half or whole step to complete the original major or minor 7th. The given note is the lower note of the interval.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1.

ŠÐ 11.–30. (R) 11.

2.

3.

Ð 12.

4.

5.

6.

7.

Ð Ð 13.

Ð 14.

8.

Ð Ð

15.

16.

9.

Ð Ð Ð

17.

18.

Ð

Š ²Ð

−Ð

²Ð

²Ð

Ð

10.

Ð

−Ð

19.

−Ð

20.

−Ð

The given note is the upper note of the interval. 21.

ÝÐ

22.

Ð

23.

24.

25.

Ð

Ð Ð

26.

Ð

27.

Ð

28.

Ð

29.

30.

Ð Ð

Unit 6

83

ben01366_un06.qxd

6/8/09

31.

4:24 PM

32.

33.

Page 84

34.

Ð

ÝÐ

35.

36.

−Ð

37.

²Ð

Ð

38.

39.

40.

−Ð ²Ð

−Ð

²Ð Ð

Melody 6E Models and Embellishments: 7–3 Patterns in Two Voices 1. Notice that the model in this section is made up of two voices that move in similar and oblique motion, forming 7ths and 3rds. Sing both parts of this structure before class. 2. Your instructor will play the structure followed by embellishments of that structure. 3. Write the model’s embellishments on the numbered staves provided.

$Model: ð Š 00

ð

Ý0ð % 0

ð

Embellishments: 1.

$ Š 00 Ý0 % 0 $2. Š 00 Ý0 % 0 $3. Š 00 Ý0 % 0 84

Ear Training

ð

ð

ð

ð

ð

ð

ð

ð

ð

ð

ð

ð

ben01366_un06.qxd

6/8/09

4:24 PM

Page 85

NAME

DATE

SECTION

$4. Š 00 Ý0 % 0 $5. Š 00 Ý0 % 0 Harmony 6A Chord Function Identification: I, ii, IV, V, and vi Triads Each exercise consists of four block chords in four-part harmony using the following chords:

Ý −− ÐÐÐ

ÐÐÐ

ÐÐÐ

ÐÐÐ

ÐÐÐ

I

ii

IV

V

vi

Write the roman numeral analysis of each chord in the blanks provided. Notate each musical example as requested by your instructor.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Numbers 1–15 contain root-position triads only: 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

Š

! Ý

Š

! Ý

Unit 6

85

ben01366_un06.qxd

6/8/09

4:24 PM

Page 86

11.–20. (R) 11.

12.

13.

14.

15.

Š

! Ý Numbers 16–25 contain inversions: 16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

Š

! Ý

Š

! Ý

Harmony 6B Chords in Music Literature: Emphasis on ii, IV, and vi 1. Each exercise consists of four examples from music literature containing a variety of harmonic rhythms and nonharmonic tones. 2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another. A.

!

B.

Š π ππ π ππ π π ππ π Ý π π π vi

86

ii

V

Ear Training

I

C.

π π π ππ π ππ π π π π π I

IV

ii

V

D.

π ππ π ππ π π π π π π π π IV

ii6

V

I

ππ ππ ππ π ππ ππ

π

ii6

V

vi

I64

ππ

ben01366_un06.qxd

6/8/09

4:24 PM

Page 87

NAME

DATE

SECTION

3. Your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and same inversions as one of the four models above. 4. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below, and prepare for the next example from music literature. 1.

2.

3.

4.

5. When the first four examples are completed, use the same procedure for models E–H. These (E, F, G, H) are the remaining four models. Pair them up with the examples from literature (5, 6, 7, 8). E.

F.

G.

H.

π Š ππ π ππ ππ

ππ ππ ππ ππ

π ππ π π

Ý π ππ ππ π π

π π π π π π

ππ π ππ π π

vi

I

! IV

I

5. (R)

ii

vi 6. (R)

ii

V

I

7. (R)

IV

ii

vi

ππ ππ π π π ππ π π π π π IV6

ii6

V

vi

8. (R)

Harmony 6C Nonharmonic Tones: Four-Voice Examples Each exercise consists of two chords including a nonharmonic tone or tones.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1. Place the abbreviation indicating the nonharmonic tone in the blank provided. UPT

=

unaccented passing tone

APT

=

accented passing tone

SUS

=

suspension

NT

=

neighboring tone

APP

=

appoggiatura

ET

=

escape tone

A

=

anticipation

2. Exercises 1–10 consist of two chords including a nonharmonic tone. 1.

6.

2.

7.

3.

8.

4.

9.

5.

10.

Unit 6

87

ben01366_un06.qxd

6/8/09

4:24 PM

Page 88

3. Exercises 11–20 (R) contain two nonharmonic tones. List the nonharmonic tones in the upper voice first, in the lower voice second. 11.

16.

12.

17.

13.

18.

14.

19.

15.

20.

Harmony 6D Harmonic Dictation: The I(i), ii(ii˚), IV(iv), and V Triads in Chorale Phrases Each exercise consists of a phrase from a chorale. Numbers 7–14 were harmonized by Bach. The harmonic vocabulary is as follows: Numbers 1–6: Numbers 7–14: 1. 2. 3. 4.

All triads are in root position. Triads are in inversions as well as root position.

Indicate the roman numeral analysis of each triad in the blanks provided. List any nonharmonic tones beneath the harmonic analysis. If the instructor requests it, give the melodic line of both the soprano and bass voices. If the instructor requests it, give the melodic line of both the alto and tenor voices.

1. (R)

!

Š /0 ππ π Ý/ π 0 CM: I 4. (R)

2. (R)

3. (R)

²² / 0 π

− /0 π π

π ²² / π 0

π − /0

DM: I

FM: I

5. (R)

6.

²/ π Š 0

−− /0 ππ

−−− /0 ππ

π ݲ/ π 0

−− / π 0

−− − / ππ 0

! GM: I

88

Ear Training

Gm:

i

E −M: I

ben01366_un06.qxd

6/8/09

4:24 PM

Page 89

NAME

DATE

7.

!

SECTION

8.

UPT

²²² π π Š {

−{ π π

π ² Ý ²² { π

π −{ π π

AM: I

UPT FM: I

9.

10.

− Š − { ππ

−− { ππ

Ý −− { ππ

−− { π π

B −M: I

B −M: I

! UPT 11.–14. (R) 11.

12.

UPT

π Š{π

−{ π π

Ý { ππ π

π −{ π

! UPT Dm:

CM: I

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

13.

i

14.

²² π Š {π

−−− { ππ

Ý ²² { π π

−− − { ππ π

! UPT Bm:

i

UPT E −M: I

Harmony 6E Error Detection: Triads in Four Parts Each exercise consists of two triads in four parts.

Unit 6

89

ben01366_un06.qxd

6/8/09

4:24 PM

Page 90

1. As played by the instructor, one note in each exercise is incorrect. The bass voice contains no errors. 2. Indicate the chord (number 1 or number 2) containing the error. 3. Indicate which voice contains the error: S = soprano A = alto T = tenor The example indicates the correct procedure. Example Chord:

2

_____

_____

_____

_____

_____

_____

_____

_____

_____

Voice:

T

_____

_____

_____

_____

_____

_____

_____

_____

_____

1. 2. 3. 4. 5. 6. π π π π π π π − π Š π π π π π π π π ππ π π Ý − ππ π π ππ ππ ππ ππ π π ππ ππ π

!

V

I

ii V

IV V

IV I

ππ 7. π π 8. π π π π π ππ π π π π π π π

I V6

I IV

ii6 V

Rhythm 6A Rhythmic Dictation: Quarter-Beat Values Each exercise consists of a two-measure melody. Complete the rhythm on a neutral pitch. The first note is given for each exercise. 1.

2.

/0 π ý 3.

4.

.0 π ý 5.

.0 π 6.

ý 42 π 7.

42 π 8.

00 ð ý 9. (R)

00 ð ý 10. (R)

ý 02 π

02 ð 90

/0 π ýý

Ear Training

V I6

9.

10. ππ ππ ππ π

ππ π ππ ππ π IV6 V

IV6 I

ben01366_un06.qxd

6/8/09

4:24 PM

Page 91

NAME

DATE

11. (R)

SECTION

12. (R)

/0 π ý

/0 π 13. (R)

14.

00 π ýý

00 π

Rhythm 6B Error Detection: Triplet Figures Each exercise consists of a melodic phrase. Most phrases contain triplet figures. In one of the measures, the written rhythm will not agree with the version played. Circle the number representing the measure with the “error.” 1.

1

2

/0 π ð 2.

1

00 π

3

4

1

00 ð ð Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

6

7

2

3

4

π πý π π π π π π πý π π π π π πý π π ππ π π πý π      3

3.

5

π π π π π π π π π π π π π π π π ðý

ππππππ ππð

3

3

2

3

4

5

π π π π π π π π π π π ð π π π π π π π π π π π π ðý 3

4.

/. 1ð ð ð

2

3

ðý π ð

4

¼ ππ¼ ππ¼ ππ ð Ð

5

ð Ð

5. (R) 1

2

3

4. π π π π π π π π π

4

5

πý π π π π π π π

3

6. (R) 1

2

3

.0 π π π π π π π π π π π π π π  3 3 3

4

π π π π

Unit 6

91

ben01366_un06.qxd

6/8/09

7. (R)

4:24 PM

Page 92

1

/0 π

2

3

π π π π π π π π π

4

π π π

ð

8. (R) 1

2

/0 π ý π π 

3

π π π π π πý π π 

4

5

6

π π π π π π π π π πý π ðý  3

Transcription 6 Refer to instructions found in Transcription 1 (page 14). Recorded Example 16 in D minor Notate the entire musical selection that is played in this example.

π Š − /0

! π Ý−/ 0

ð

π Š−

 

Ý−

  ²π

Š−

π

! ππ



! Ý−

92

Ear Training



ben01366_un06.qxd

6/8/09

4:24 PM

Page 93

NAME

DATE

SECTION

Recorded Example 17: Chord progression using I, ii, IV, V, and vi chords in the key of G major. After the two-measure “count off,” measures 1–16 of the following example are played twice. This is followed by a two-measure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff.

² Š {π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & & 

& & & &

& & & &

5

9

13

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

17

Recorded Example 18: Chord progression plus melody using i, ii°, iv, V, and VI chords in the key of F minor. After the two-measure “count off,” measures 1–12 of the following example are played twice, once without the melody and once with the melody. This is followed by a two-measure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff. Write the melody on the staff.

− Š − −− { π ¼ π ¼

π π π π

1

− Š − −− Unit 6

93

ben01366_un06.qxd

6/8/09

4:24 PM

Page 94

5

− Š − −− 9

− Š − −− 13

− Š − −−

94

Ear Training



ben01366_un07.qxd

6/8/09

4:25 PM

Page 95

NAME

DATE

SECTION

Unit 7 Melody 7A Melodic Dictation: Two-Phrase Melodies Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before. Sample Melody 1

− Š − − /0 π π ð π π π π ð π π π π π π π π π π π¹ ¼ ¼ π Sample Melody 2

ππ

ππππ

ππππ

Ý −− ‡ ð π π −

π π ðý π π π π π π π π π π π ππ π ð ½

Sample Melody 3

¹  π π π ¹ ¹ / π π π π Š 0 π πππ π πππ π π π í π π π π ππ π ππ ðý

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Each exercise consists of a melody composed of two phrases. The second phrase begins immediately after the l l, marked in each melody. 1. Create an aural image of the melody. After hearing each melody, immediately try to sing it in its entirety in your mind. 2. Establish an understanding of the melody’s structure. After you can hear the melody in your mind, analyze the melody with solfeggio syllables or numbers. 3. Do not notate the melody until you have completed these two steps. 4. Notate each melody on the appropriate staff below. The first notes are given for the melodies in this section. 1.

Š /0 π

π

2.

− Š − − /0 π π

ππ

95

ben01366_un07.qxd

6/8/09

4:25 PM

Page 96

3.

² ² ðý Š ² ² /0

ð

4.

− Š − /0 π

π

5.

Š /0 π

¼ πý

6. (R)*

π ² Š ² /0 π

ππ

7. (R)

Š−‡ ð

π

8. (R)

Š − /0 π

π

9. (R)

² Š 4/ π

π

10. (R)

 Š 4/ π

π

*(R) means recorded.

Melody 7B Error Detection: Handel Melodies Each exercise consists of a phrase of music by Handel and contains three pitch performance errors. Place a circle around the three numbers that represent pitches different from those played.

96

Ear Training

ben01366_un07.qxd

6/8/09

4:25 PM

Page 97

NAME

DATE

SECTION

1.

ð ð ¼ π ð ð ¼ π ð ð ¼ π ð

Š − ./ ð ð ¼ π ð ð ½ 1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

2.

² Š -.4 π π π π π π π π π π π π π π π π π π π π π π ý 1

2

3

4

5 6 7

8

9 10

11 12

13

14 15 16 17 18 19 20 21 22

3.

Š−{ π 1

π π π π

π π π π

π π π π π π π π

2

6

10

3

4

5

7

8

9

11

12

13 14

15

16

17

4.

π ð π π π π ð π π π π π ð π π π π π ðý

² ð Š ² ./ ð ð 1

2

3

4

5

6

7

8

9 10

11 12 13 14 15 16

17 18 19 20 21 22

5.

−− / π π π ðý Š 0 1

2

3

π π π ð π π π π ²ð π π π π π

4

5

6

7

8

9

10 11 12

13

14

15 16 17

18

6. (R)

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

² Š /0 ¼ π π 1

2

ðý

π π π

3

4

5

6

ðý

π π π ý π π π π ý π π

7

8

9

10

11 12 13

14 15 16

7. (R)

 Š − -.4 ¼ ý ¹ ¹ π π π π π π π π π π π π π π π π π π π π π π 1 2 3 4 5 6 7

8 9 10 11 12 13 14 15 16 17 18

19 20 21 22

8. (R)

Š − /0 π π π 1

2

3

π π π

 π π π π π π π π π π π π π

4

7

5

6

8

9 10 11 12

13 14 15 16 17 18

19

Unit 7

97

ben01366_un07.qxd

6/8/09

4:25 PM

Page 98

9. (R)

π π π π π π π − π π π π π π π π π π π π π Š { π ππ π ππππ π π π ππ 123 4

5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33

10. (R)

π ð ý π π π π π π π π π π π ðý ²² / ð π π π π π Š 0 π ππ 1

2

3 4 5 6

7 8 9 10

11

12 13 14 15

16 17 18 19

20 21 22

23

Melody 7C Melodic Figure Identification: Melodic Devices Each exercise consists of a melodic phrase. In the blank provided, write the type of device (below) found in each melody: SEQUENCE REPEATED MELODY REPEATED RHYTHM

The immediate restating of a melodic figure at a higher or lower pitch so that the structure of the figure is maintained. Each unit is called a segment. A segment of the melody is repeated with or without the same rhythm. A rhythmic (but not melodic) figure is repeated.

Listen carefully to each melody as played and circle one of the four: 1. 2. 3. 4.

SEQUENCE REPEATED MELODY REPEATED RHYTHM NONE

4.–8. (R) 1. SEQUENCE 2. SEQUENCE 3. SEQUENCE 4. SEQUENCE 5. SEQUENCE 6. SEQUENCE 7. SEQUENCE 8. SEQUENCE

when you hear a sequence when you hear a melody repeated with or without the same rhythm when you hear a rhythm (only) repeated—no repeated melody or sequence when you hear none of the three devices listed

REPEATED MELODY REPEATED MELODY REPEATED MELODY REPEATED MELODY REPEATED MELODY REPEATED MELODY REPEATED MELODY REPEATED MELODY

REPEATED RHYTHM REPEATED RHYTHM REPEATED RHYTHM REPEATED RHYTHM REPEATED RHYTHM REPEATED RHYTHM REPEATED RHYTHM REPEATED RHYTHM

Melody 7D Intervals: All Diatonic Intervals Each exercise consists of a single interval (two tones). 1. Write the name of the interval in the blank provided. 2. Write the second note of the interval on the staff in notation.

98

Ear Training

NONE NONE NONE NONE NONE NONE NONE NONE

ben01366_un07.qxd

6/8/09

4:25 PM

Page 99

NAME

DATE

SECTION

If you have difficulty identifying particular intervals, review them thoroughly before undertaking this section. For locating helpful strategy: Unit

Type

1 2 3 4 5 6

Section

Page

D D D D D D

4 22 36 53 71 87

Melody Melody Melody Melody Melody Melody

Strategy for Particular Intervals m2 P5 m2 m6 Tritone m7

M2 P4 M2 M6

m3

M3

m3

M3

P5

P4

M7

The given note is the lower note of the interval.

1.

ŠÐ

2.

3.

−Ð

5.

6.

Ð

²Ð

14.

8.

9.

10.

Ð Ð

Ð 13.

7.

Ð

Ð

11.–30. (R) 11. 12.

Ý

4.

15.

16.

−Ð

−Ð

²Ð

−Ð

Ð

Ð 17.

Ð 18.

19.

20.

−Ð

−Ð ²Ð

²Ð

The given note is the upper note of the interval.

21.

22.

²Ð

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Š

23.

−Ð

24.

²Ð

25.

32.

28.

29.

30.

−Ð

−Ð

²Ð

²Ð ²Ð

33.

34.

35.

Ð

36.

37.

38.

39.

−Ð

²Ð

Ý ²Ð −Ð

27.

Ð

Ð 31.

26.

²Ð ²Ð

−Ð

40.

Ð −Ð

Melody 7E Models and Embellishments: Cadence Formulas in Two Voices 1. The four models in this section are based on two-voice authentic cadences. Sing both parts of these structures before class. 2. Your instructor will play the structure followed by embellishments of that structure. 3. Write the model’s embellishments on the numbered staves provided.

Unit 7

99

ben01366_un07.qxd

6/8/09

4:25 PM

$ Model½ A: ð ð 0 %Š 0

Page 100

Model B:

½ ð ð

Ð

Embellishments:

$ 1A. ½ 0 %Š 0

Embellishments: 1B.

00 ½

$ 2A. ½ 0 %Š 0

2B.

$ 3A. ½ 0 %Š 0

3B.

$ 4A. ½ 0 %Š 0

4B.

$ 5A. ½ 0 %Š 0

5B.

$ 6A. ½ 0 %Š 0

6B.

$ 7A. ½ 0 %Š 0

7B.

00 ½ 00 ½ 00 ½ 00 ½ 00 ½ 00 ½

Model C:

Ð Ð

½ ðð

Model D:

Ð Ð

Embellishments: 1C.

00 ½ 2C.

00 ½ 3C.

00 ½ 4C.

00 ½ 5C.

00 ½ 6C.

00 ½ 7C.

00 ½

Harmony 7A Chord Function Identification: I(i), ii(ii˚), iii(III, III +), IV(iv), V, and vi(VI) Triads Each exercise consists of a series of four chords in block harmony. In the blanks provided, write the analysis of each of the four chords.

100

Ear Training

½ ð ð Embellishments: 1D.

00 ½ 2D.

00 ½ 3D.

00 ½ 4D.

00 ½ 5D.

00 ½ 6D.

00 ½ 7D.

00 ½

Ð Ð

ben01366_un07.qxd

6/8/09

4:25 PM

Page 101

NAME

DATE

SECTION

Numbers 1–10 contain the following chords only:

Ý ²²² ÐÐ Ð

ÐÐÐ

ÐÐÐ

ÐÐÐ

ÐÐÐ

ÐÐÐ

AM:

ii

iii

IV

V

vi

I

Numbers 1–10 contain root-position triads only: 1.

2.

3.

4.

5.

6.–15. (R) 6.

7.

8.

9.

10.

Š

! Ý

Š

! Ý

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Numbers 11–20 contain the following chords only:

Ý ÐÐ Ð Am:

i

ÐÐ Ð

ÐÐ Ð

ÐÐÐ

i6

ii°6

III

ÐÐ ² Ð ² ÐÐ Ð ÐÐ Ð III6

III+

III+6

ÐÐÐ

ÐÐ ² ÐÐ ² ÐÐÐ Ð Ð

ÐÐÐ

ÐÐ Ð

iv

iv6

VI

VI6

V

V6

Numbers 11–20 contain inversions:

11.

12.

13.

14.

15.

Š

! Ý

Unit 7

101

ben01366_un07.qxd

6/8/09

4:25 PM

16.

Page 102

17.

18.

19.

20.

Š

! Ý Harmony 7B Chords in Music Literature: Emphasis on iii and vi 1. Each exercise consists of four examples from music literature, which include a variety of harmonic rhythms and nonharmonic tones. 2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another. A.

!

B.

C.

− −−− ππ π Š −− π π π π π π π Ý −− π π π π −− π −π π π − π π I

iii vi

I

vi

D.

ππ π −−−−−− π π ¦ π π −−− ππ π π π π ππ − ππ π π π − π π π ππ − −−−− π π π − − π π π π

iii IV I

i

ii°6 V

VI

iii vi

V

I

3. Your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and same inversions as one of the four models above. 4. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below, and prepare for the next example from music literature. 1.

2.

3.

4.

5. When the first four examples are completed, use the same procedure for models E–H. These (E, F, G, H) are the remaining four models. Pair them up with the examples from literature (5, 6, 7, 8). E.

!

F.

G.

H.

− − −−− π ππ π Š − − ππ π ππ π − − π π π π π π π π π π π π π π π Ý −− π − π π π −−− π π π ππ −−− π π π vi

iii IV I

5. (R)

102

Ear Training

6. (R)

I

iii vi 7. (R)

I

iii vi 8. (R)

V

ππ −−−−−− π π ¦π π π π −−−−−− ππ ππ ππ ππ I

i

ii°6 V

VI

ben01366_un07.qxd

6/8/09

4:25 PM

Page 103

NAME

DATE

SECTION

Harmony 7C Harmonic Rhythm and Harmonic Analysis: I, ii, IV, V, and vi Triads Each exercise consists of a phrase of music in homophonic (single-melody with chordal accompaniment) style. 1. Write the harmonic rhythm by bracketing the numbers. 2. Write the harmonic analysis above each bracket. 3. Write the melody on the staff in notation if the instructor requests you to do so. 1.

Beats:

1

2

3

4

5

6

7

8

9

10

11

12

− / πý − Š 0 2.

Beats:

1

2

3

4

5

6

7

8

² Š 42 π 3.–5. (R) 3. Beats: 1

2

3

4

5

6

7

8

9

10

11

12

Š − /0 π 4.

Beats: Up

1

² Š 42 π

π

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

5.

Beats: 1

2

2

3

3

4

4

5

5

6

6

7

7

8

8

9

10

Š .0 π π Harmony 7D Harmonic Dictation: I(i), ii(ii˚), IV(iv), V, and vi(VI) Triads in Chorale Phrases Each exercise consists of a chorale phrase. Numbers 7–14 are harmonizations by Bach. The harmonic vocabulary is as follows: Numbers 1–6: Numbers 7–14: 1. 2. 3. 4.

All triads are in root position. Triads may be in inversions as well as root position.

Indicate the roman numeral analysis of each triad in the blanks provided. List any nonharmonic tones beneath the harmonic analysis. If the instructor requests it, give the melodic line of both the soprano and bass voices. If the instructor requests it, give the melodic line of both the alto and tenor voices.

Unit 7

103

ben01366_un07.qxd

6/8/09

4:25 PM

Page 104

2.

1.

3.

UPT

²² / π π 0 π π ²² / π 0

Š − /0 π

! Ý − / ππ 0

−− /0 π

π −− / π 0

DM: I

FM: I

Gm:

5.

4.

i

6.

²/ π Š 0

−−− /0 ππ

−− /0 ππ

π ݲ/ π 0

π −− − / π 0

−− / ππ 0

Cm:

B −M: I

! GM: I

i 8.

7.

Š − { ππ

²/ π 0

Ý−{ π

²/ π 0

FM: I

GM: I

! 10.

9.

² Š ² { ππ

−− {

Ý ²² { π

π −− { π

π

! Gm:

DM: I

i

11.

12.

− Š − { ππ π

²² { ππ

NT UPT

!

π Ý −− { π ππ UPT B −M: I

104

Ear Training

UPT UPT

²² { ππ π Bm:

i

ben01366_un07.qxd

6/8/09

4:25 PM

Page 105

NAME

DATE

13.

14.

− Š −− { π

¦¦¦ { ππ

Ý −− { ππ −

𠦦¦ { π

! Cm:

i

SECTION

iii

CM: I

Harmony 7E Error Detection: Triads in Four Parts Each exercise consists of two triads in four parts. As played by the instructor, one note in each exercise is incorrect. Any voice may contain an error. 1. Indicate the chord (no. 1 or no. 2) containing the error. 2. Indicate the voice containing the error: S = soprano A = alto T = tenor B = bass The example indicates the correct procedure. Example Chord: 2

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Voice: T

!

3. ²² 1.π π 2. Š π π π ππ ππ π π Ý ²² π ππ ππ π π π π π π

4.

5.

6.

7.

ππ ππ ππ π ππ ππ ππ π ππ π π ππ π ππ π π π

π 8. π π 9. π π 10.ππ ππ ππ ππ ππ ππ ππ ππ π ππ

Rhythm 7A Rhythmic Dictation: Quarter-Beat Values 2 3 4

6

Each exercise consists of two measures of 4 , 4 , 4 , or 8 meter. 1. For numbers 1–10, the meter signature and first note value are given. 2. For numbers 11–20, nothing is given, but the instructor will provide the basic beat before beginning. 3. Listen for the instructor to provide the basic beat. Then, indicate: a. The meter signature. b. The rhythm on the staff using a neutral pitch.

Unit 7

105

ben01366_un07.qxd

6/8/09

4:25 PM

Page 106

1.

2.

/0 π ý π 3.

/0 ð 4.

.0 π

.0 π π

5.

6.

ý 42 π 7.

ý 42 π 8.

42 π

42 π

9.

10.

00 ð ý 11. (R)

13. (R)

15. (R)

00 π 12. (R)

14. (R)

16. (R)

17. (R)

18. (R)

19. (R)

20. (R)

106

Ear Training

ben01366_un07.qxd

6/8/09

4:25 PM

Page 107

NAME

DATE

SECTION

Rhythm 7B Rhythmic Dictation: Beat Units Divided into Triplets Each exercise consists of a short phrase of music. Indicate the rhythm on the staff using a neutral pitch. The value for the first notes is given. 1.

/0 π 2.

.0 π π π 3.

00 π 4.

.0 ð 5. (R)

4/ π Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

6. (R)

.. ð 7. (R)

/0 π 8. (R)

00 π

Unit 7

107

ben01366_un07.qxd

6/8/09

4:25 PM

Page 108

Transcription 7 Refer to instructions found in Transcription 1 (page 14). Recorded Example 19 in A minor Notate the entire musical selection that is played in this example.

Š .0 π

¹

! Ý.π 0

¾

¹

Š

¹

¾



! Ý

¾

¼



Recorded Example 20: Chord progression using I, ii, iii, IV, V, and vi chords in the key of D major. After the two-measure “count off,” measures 1–16 of the following example are played twice. This is followed by a two-measure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff.

²² Š {π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

5

9

108

Ear Training

ben01366_un07.qxd

6/8/09

4:25 PM

Page 109

NAME

DATE

SECTION

13

& & & &

& & & &

& & & &

& & & &

& & & &

& & & & 

17

Recorded Example 21: Chord progression using i, ii°, III, III+, iv, V, and VI chords in the key of E minor. After the two-measure “count off,” measures 1–16 of the following example are played twice. This is followed by a two-measure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff.

² Š {π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & & 

& & & &

& & & &

5

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

9

13

17

Unit 7

109

ben01366_un07.qxd

6/8/09

4:25 PM

Page 110

ben01366_un08.qxd

6/8/09

4:26 PM

Page 111

NAME

DATE

SECTION

Unit 8 Melody 8A Melodic Dictation: Melodies with Larger Leaps Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before. Sample Melody 1

Sample Melody 2

− Š − − .0 π π π π π π

¦¦− π π π π ²π π π π π π

ππ ππ ð

Sample Melody 3

π

π

¦π í

π

Ý −− − . ý − 0

π

ð

π

Each exercise consists of a short, two-measure melody. Complete each melody on the staff in notation. The first note of each melody is given.

1.

2.

²²² 2 4 πý

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Š .0 π Ý ²² . 3.π 0 ²

4.

.0 π

5.

6.

−− 42 π

Š {π 7. 8.

Ý−2 π 4

ý .0 π

111

ben01366_un08.qxd

6/8/09

4:26 PM

Page 112

9.–14. (R) 9.

10.

²² 2 π 4

Ý−/ π . − /11.π − Š 0

12.

24 π

13.

14.

²²² . π 0

Ý −− − . π − 0 (R) means recorded.

Melody 8B Error Detection: Franck Melodies Each exercise consists of a phrase of music by César Franck. Place a circle around the three numbers that represent pitches different from those played. 1.

π π π π π ²π ²²² π ² π π π π π π ¼ π ¼ Š { ππ π π 1

2

3

4

5 6

7

8

9 10

11

12 13 14

15 16

17

18

2.

 ²²² / π Š 0 π π ¼ π π ¼ π π ý π π π ¼ π π π π ¼ π π ý ² π π ð 1

2

3

4

5

6

7 8

9

10

11 12 13

14

15

16 17 18

19

3.

Ý − { π ý π π ¼ π ý π π ¼ π ² π π π π ðý ² π π π π π π Ð  1

2 3

4

5 6

7

8

9 10 11

12

13

14 15 16 17 18

19

4.

Š − { π π ² π π π ðý 1

2

3

4

5

6

π π π π π ðý 7

8

9

10

11 12

π ý π π ý π π −ðý   13

14 15

16

17 18

5.

π ð π π ð π π ð π π ð π π − π −ð π π −ð π π − π ¦ π π ¦ π − π π Š−‡ 1 2 3

112

Ear Training

4 5 6

7 8 9

10 11 12 13 14 15

16 17

18 19 20 21 22 23 24

ben01366_un08.qxd

6/8/09

4:26 PM

Page 113

NAME

DATE

SECTION

6.

− Š − −−− /0 π π π π ð π π π π ¦ π ð π π π π −π π π π π ¦ π π ð 1

2 3 4

5

6

7 8 9 10 11 12

13 14 15

16 17 18

19 20 21 22

23

7.

Ý ²² ‡ π π π π π π π π π π π π π ¼ ¼ πππ ð ð ¼πππ ð ð ππ 1 2 3 4

5 6 7

8 9 10 11

12 13

14 15 16 17 18

19 20 21 22 23

8.

ý − Š − − /0 π ý π π ý π π ý π π π π π ¦ π −π ý π ² π ý π π ý π π ý π π ¼ 1

2 3

4 5

6

7

8 9

10

11 12 13 14 15 16

17 18 19

9.

²² Š

π 1

π ²π ¼ ¦ π

π ¦π ¼ π

π ²π ¦ π ²π

π π π π ¦ π π

2

5

8

12

3

4

6

7

9

10

11

13 14 15 16 17

10.

²²² /  Š 4 π π ý ²π π π π π ý π π ý π π 1

2

3

4

5

6

7

8

9

10 11

πý

π π π πý

12

13 14 15

16

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Melody 8C Harmonic Rhythm, Harmonic Analysis, Sequences, Phrase Relationships, and Cadences Each exercise consists of two phrases excerpted from a Chopin mazurka. HARMONIC RHYTHM

HARMONIC ANALYSIS

CADENCES

MELODIC SEQUENCES

Place an “X” above each number where a chord change occurs. The chords found in each exercise are listed. To prepare for the exercise, play and sing each chord until it is familiar. (Review Harmony 1C, 5C, and 7C sections.) Place the roman numeral analysis of each chord below the appropriate numbers. As you listen, keep looking at the list of possible chords and sketch the numbers where each chord occurs. Then, after a few listenings, you are ready to transfer the analysis to the requested position. (Review Harmony A sections.) Indicate the cadence types in the blanks provided. By this time you will have placed all chord analyses above the numbers and can assess the cadence type. (Review Harmony 3C.) Bracket the numbers where a melodic sequence is heard. This is a separate operation. All of these Chopin examples are homophonic (a single melodic line, easily distinguished) and the melody is in the highest-sounding voice. Listen for a melodic excerpt that is sounded more than once, but at different scale locations. (Review Melody 5C, 6C, and 7C sections.)

Unit 8

113

ben01366_un08.qxd

6/8/09

4:26 PM

Page 114

PHRASE RELATIONSHIP

Indicate the type of phrase relationship (repeated, modified repeated, parallel, or contrasting) in the blank provided. (See below.) Phrase 1

Repeated Modified repeated

Phrase 2

If 2nd phrase repeats the 1st A A If 2nd phrase repeats the 1st but is slightly modified A A If 2nd phrase is parallel to 1st A A If 2nd phrase is contrasting to 1st A B Write the melody (highest voice on the blank staff).

Parallel Contrasting Melodic dictation (optional)

(or AP)

1. Key: C Major, chords: I I46 IV6 V 3 12

1

π / Š0

2

2

3

2

3

3

2

3

4

2

3

8

2

3

Cadence:

π5 π π

2

6

3

2

7

3

2

Š 3

Cadence: Phrase relationship: 2. Key: B Major, chords: ii6 V I

²²²² / 1 Š ² 0 π ý π π ×π 2 3

2

2

3

3

2

4

3

2

5

3

2

6

3

2

Cadence: 9

2

3

10

²²²² Š ²

2

11

3

2

7

3

2

3

8

2

3

16

2

3

Cadence: 12

3

2

13

3

2

14

3

2

15

3

2

lπ π π πl l Cadence:

Cadence:

Phrase relationship:

3. Key: B b Major, chords: I IV V 1 2 3 2

2

3

3

2

4

3

2

5

3

2

6

3

2

3

12

2

− Š − /0 π ¾ π π π 7

2

3

8

2

3

9

2

3

10

2

3

11

2

− −π π ý π Š − πl ¾ π π Cadence: Phrase relationship:

114

Ear Training

Cadence:

3

ben01366_un08.qxd

6/8/09

4:26 PM

Page 115

NAME

DATE

4. Key: B b Major, chords: I IV V 3 1 2

πý

− Š − /0 π

2

3

ππ

¦π 

2

SECTION

3

3

2

4

3

2

3

π π Cadence:

5

2

6

3

−π ¾ ππ Š−

ππ

2

7

3

2

3

8

2

3

3

4

2

3

π ¦π Cadence:

Phrase relationship:

5. Key: F Major, chords: I IV64 V (R)

1

3

2

2

3

2

3

3

2

Š − /0 π π No Cadence

Cadence: 5 π π π − Š 2

6

3

π π

2

7

3

2

8

3

2

Cadence: Phrase relationship:

6. Key: D Major, chords: I ii6 V

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

(R)

3

1

² Š ² /0 π

π π

2

3

2

2

3

3

2

4

3

2

Cadence: 3

² Š ²π

5

2

3

6

2

3

7

2

3

8

2

Cadence: Phrase relationship:

Unit 8

115

ben01366_un08.qxd

6/8/09

4:26 PM

Page 116

7. Key: C Major, chords: I ii V (R) 1

2

2

3

2

3

3

2

4

3

2

3

π π π

Š /0 π

Cadence: 5

2

6

3

2

7

3

2

8

3

2

3

Šπ Cadence: Phrase relationship:

8. Key: Ab Major, chords: I I64 IV V (R)

−− −− / π 1 ý π ππý Š 0 3

2

2

3

2

3

3

2

3

4

2

5

3

2

6

3

2

3

π Cadence:

7

2

8

3

2

3

9

2

10

3

2

3

− Š − −−

11

2

3

πππππ π

12

Cadence: Phrase relationship:

Melody 8D Intervals: All Diatonic Intervals Each exercise consists of a single melodic interval. 1. Write the name of the interval in the blank provided. 2. Write the remaining note of the interval on the staff. The given note is the lower of the two.

Ð1.

2.

3.

Š

4.

5.

Ð

Ð

Ð

Ear Training

7.

8.

13.

14.

15.

Ð 16.

−Ð

Ý

116

Ð

Ð

Ð 11.–30. (R) 11. 12.

6.

Ð

²Ð

−Ð −Ð

17.

²Ð

9.

Ð

Ð

Ð 18.

10.

19.

20.

²Ð −Ð

−Ð

2

ben01366_un08.qxd

6/8/09

4:26 PM

Page 117

NAME

DATE

SECTION

The given note is the upper of the two. 21.

22.

23.

²Ð Š 31.

ÝÐ

−Ð ²Ð 32.

33.

Ð

24.

26.

27.

−Ð ²Ð 34.

−Ð

25.

²Ð

28.

36.

−Ð

30.

−Ð

²Ð

²Ð

−Ð 35.

29.

37.

−Ð

38.

39.

−Ð

Ð

40.

Ð −Ð

−Ð

Melody 8E Models and Embellishments: 5–6 Patterns in Three Voices 1. The model in this section is made up of two voices that ascend in parallel thirds while a third voice ascends in oblique motion. Sing all parts of this structure before class. 2. Your instructor will play the structure followed by embellishments of that structure. 3. Write the model’s embellishments on the numbered staves provided.

$Model: Š 00 ð

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Ý 0 ðπ % 0

π

ð ð

ð

ð

ð

πð

π

ð ð

ð

ð

ðð

ð ð

Embellishments: 1.

$ Š 00 Ý0 % 0 $2. Š 00 Ý0 % 0 Unit 8

117

ben01366_un08.qxd

6/8/09

4:26 PM

Page 118

$3. Š 00 Ý0 % 0 $4. Š 00 Ý0 % 0 $5. Š 00 Ý0 % 0 Harmony 8A Chord Function Identification: Diatonic Triads (Major Mode) Each exercise consists of four chords in block harmony. Write the roman numeral analysis of each chord in the blank provided. Notate each musical example as requested by your instructor. Numbers 1–15 use I, ii, iii, IV, V, vi in root position only:

Ý−Ð ÐÐ FM:

1.

Š

! Ý

118

Ear Training

2.

I

ÐÐÐ

ÐÐÐ

ÐÐÐ

ÐÐÐ

ÐÐÐ

ii

iii

IV

V

vi

3.

4.

5.

ben01366_un08.qxd

6/8/09

4:26 PM

Page 119

NAME

DATE

6.

SECTION

7.

8.

9.

10.

12.

13.

14.

15.

Š

! Ý 11.–20. (R) 11.

Š

! Ý Numbers 16–25 use the following chords and their inversions:

Ý−Ð ÐÐ FM:

I

ÐÐ Ð I6

ÐÐÐ

ÐÐ Ð

ii

ii6

ÐÐÐ

ÐÐ Ð

ÐÐÐ

ÐÐ Ð

ÐÐÐ

ÐÐ Ð

ÐÐÐ

ÐÐ Ð

ÐÐ Ð

iii

iii6

IV

IV6

V

V6

vi

vi6

vii°6

16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

Š Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

! Ý

Š

! Ý

Unit 8

119

ben01366_un08.qxd

6/8/09

4:26 PM

Page 120

Harmony 8B Chords in Music Literature: All Triads 1. Each exercise consists of four examples from music literature, which include a variety of harmonic rhythms and nonharmonic tones. 2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another. A.

C.

B.

²

D.

Š ππ π ππ π

² π π π π ππ

−− π ² π π π π π π

² π π π π π

Ý ² π ππ π ππ π π

π π π π ² π π π

−− ππ ππ π π π ²π

²π ¦π π π ² π π π π

ii6

i6 vii°6 VI6 V6

! I

iii

ii

vi

I

iii

vi

III

I

V

I

3. Your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and same inversions as one of the four models above. 4. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below, and prepare for the next example from music literature. 1.

2.

3.

4.

5. When the first four examples are completed, use the same procedure for models E–H. These (E, F, G, H) are the remaining four models. Pair them up with the examples from literature (5, 6, 7, 8). E.

!

F.

− Š − π ππ π π Ý −− π ² π

π

V6

i

i 5. (R)

π π

G.

H.

ππ ππ ² π π π π −− ππ π π π ² π π π π π π π π ππ π π π π π π π π π π ²π ² π π π π ¦π π ² π − π π π − π π π π π π v6 VI 6. (R)

vi

ii

V

I

7. (R)

III VI ii°6 V

I vii°6 vi6 V6

8. (R)

Harmony 8C Nonharmonic Tones: Bach Chorales (1) Each exercise consists of a short excerpt from a four-voiced chorale by Bach. 1. The rhythm of each exercise is given on neutral pitches. 2. Nonharmonic tones are marked “X” and numbered. 3. Listen carefully to each excerpt; then write the type of each nonharmonic tone in the blank provided.

120

Ear Training

ben01366_un08.qxd

6/8/09

4:26 PM

Page 121

NAME

DATE

$1.π

SECTION

2.

1x

π

ðð

π ππ π

π π π π π π π πππ %

ðð

π

π

π

π

4x

5x

x1

x2

x3

Exercise 1.

Exercise 2.

1.

1.

2.

2.

3.

3.

4.

4.

4 x

π ý π ðð

2x

3x

π π π π ðð

5.

$3.π π

x1

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

π π %

4.

π ðð

4 x

πý π π π x2

π

3x

πð ý 2 x

π π π ðð

π

π

π π π π πð

ðð ýý

π 

3x

π

ðð ýý

1x

Exercise 3.

Exercise 4.

1.

1.

2.

2.

3.

3.

4.

$ 5.π (R) ð ý π

6. (R)

π π π

1x

π %

3x

π π πð 2x

ðð ýý

1x

π π

π

πý

5x

π ðð

3x

π

ðð ýý

π π 2x

πð

π π π 4x

ðð

Unit 8

121

ben01366_un08.qxd

6/8/09

4:26 PM

Page 122

Exercise 5.

Exercise 6.

1.

1.

2.

2.

3.

3. 4. 5.

7. (R)

8. (R)

$ πý ý

1 x

π πý

2x

π π %

π π

4x

 π π

3x

π

π π π ý π π π

ðð ýý

π π ðπ

ðð ýý

3x

1x

Exercise 7.

Exercise 8.

1.

1.

2.

2.

3.

3.

2x

π

4.

Harmony 8D Harmonic Dictation: I(i), ii, IV(iv), V, vi(VI), and vii˚ Triads in Chorale Phrases Each exercise consists of a chorale phrase. The harmonic vocabulary is as follows:

1. 2. 3. 4.

122

Numbers

Harmony Included

Positions

1–6 7–10

All listed above All listed above, except vi (VI); an occasional vii

Root position exclusively Root position and inversions

Indicate the roman numeral analysis of each triad in the blanks provided. List any nonharmonic tones beneath the harmonic analysis. If the instructor requests it, give the melodic line of both the soprano and bass voices. If the instructor requests it, give the melodic line of both the alto and tenor voices.

Ear Training

ben01366_un08.qxd

6/8/09

4:26 PM

Page 123

NAME

DATE

1.

!

SECTION

2.

3.

Š /0 π ππ Ý/ 0

−− /0 ππ

²/ π 0

π −− / π 0

π ²/ 0 π

Am:

B −M: I

GM: I

5.

6.

i 4.

²² / π Š 0 π

²²² / 0 π

π Ý ²² / 0

²²² / π 0

/0 ππ π /0 π

AM: I

CM: I

! Bm:

i

8. (R)

7. −− − 0 π Š 0

−−− 00 π

! Ý −− 0 π −0

−−− 00 π

E −M: I

E −M: V

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

9. (R)

10. (R)

− π Š − −−−− 00

−−−−−− 00 π

Ý −− − − 0 π −− 0

−−−−−− 00 π

! E −m: i6

E −m:

i

Harmony 8E Error Detection: Triads in Four Parts Each exercise consists of two chords. In the second chord, one of the four tones is not played as written.

Unit 8

123

ben01366_un08.qxd

6/8/09

4:26 PM

Page 124

Indicate the error in the second chord by circling the note. 1.

2.

Š π ππ

! π Ýπ π π

3.

10.–18. (R) 10. 11.

π π Š π π ²² ππ ²² ππ Ý ππ ππ ²² π ² π

!

4.

π ²² π −π π ππ π ² π ππ π π π² π π ²π 12.

ππ 5.² ππ ² ππ 6. −ππ ππ π

π π 13.−π −π π π π −π ππ −− ππ π −π

π ππ −−ππ −ππ 14.

15.

Rhythmic Dictation: Quarter-Beat Values Each exercise consists of a two-measure melody. Complete each rhythm on a neutral pitch. 2.

/0 π ý

/0 π ý

3.

4.

.0 π ý 5.

.0 π ý 6.

42 π

42 π

7.

8.

00 π

00 π

9. (R)

10. (R)

./ ð

π

124

Ear Training

8.

9.

π −ππ

ππ ππ

ππ ππ

ππ −π π

ππ ππ

π ²π

ππ π 16.−π −π ππ ² ππ π − π− π −π π ππ −π π −π − π

Rhythm 8A

1.

7.

17.

18.

π ²² ππ π ππ π ²π π π π ²π π π

ben01366_un08.qxd

6/8/09

4:26 PM

Page 125

NAME

DATE

11. (R)

SECTION

12. (R)

02 π

02 ð 13. (R)

14. (R)

-.4 π ý

-.4 π

15. (R)

16. (R)

ý 45 π

45 π

Rhythm 8B Error Detection: Quarter-Beat Values Each exercise consists of a melodic phrase from music literature in which one rhythmic error exists. Circle the number that indicates the measure of the error.

1.

1

2

3

4

5

6

7

ý ý ý ý ý ý ý 4/ π π π π π π π π π π π π πππ π π π π π π π π π π π π 3

2.

1

2

3

3

4

5

6

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

{ π π π π π π π ¹ ð π ¹ π ý πππ ý ππ π ¹ π π ¹ π π π π π ý π ð ý     3.

1

02 π π π π π π π ð 3 4.

1

00 π  5.

2

3

ð π πý ðý

ð π π ð π π ð π π ðý

2

3

4

4

5

π π π π π πý π πý π π π π π π π π π π π π π π π

1

/0 π π π π ý π  3

2

3

π π πý π 

π π π π π πý π πý π π 

4

Unit 8

125

ben01366_un08.qxd

6/8/09

4:26 PM

Page 126

6. (R) 1

.0 π π

π π π π π π

2

3

4

ππππ π π

π π π π

π π

3

7. (R) 1

2

3

4

{ π π π π ý πππ π π π π π π ý π π ¹ π π π π ý πππ π π π π π ý π π ¹   3 8. (R) 1

2

3

4

5

.0 ππππππππππππ π ¹ π π π π π π π π π π 3

3

3

6

ππ π π π π π

3

3

9. (R) 1

2

3

4

¹ ¹ ý ¹ 42 π π π π π π π π π π π π π π π π π π π π π π 10. (R) 1

2

3

4

π ππ π π ¹ ππ π πππ π ππ πππππ ¼

/0 ð

Transcription 8 Refer to instructions found in Transcription 1 (page 14). Recorded Example 22 in C major Notate the entire musical selection that is played in this example.

Š .0  π π π π π

ππ

¹

! Ý . ¹ 0

¹

¹

 π  Š π

ð πý

¹¼

¹

¹

¹



πý ¹ ¹

! Ý 

¹Ý Š

ðπ ý 126

Ear Training

¹

¹

¹



ben01366_un08.qxd

6/8/09

4:26 PM

Page 127

NAME

DATE

SECTION

Recorded Example 23: Chord progression using I, ii, iii, IV, iv, V, and vi chords in the key of C major. After the two-measure “count off,” measures 1–16 of the following example are played twice. This is followed by a two-measure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff.

Š{π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & & 

& & & &

& & & &

5

9

13

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

17

Recorded Example 24: Chord progression plus melody using diatonic chords in the key of C major. After the two-measure “count off,” measures 1–16 of the following example are played twice, once without the melody and once with a melody in the strings. This is followed by a two-measure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff. Write the two string parts on the staff. Hint: The two string parts are always the same interval number apart.

Š /0 π

π

π

π

π

π

1

Š Unit 8

127

ben01366_un08.qxd

6/8/09

4:26 PM

Page 128

5

Š 9

Š 13



Š 17

Š

128

Ear Training

ben01366_un09.qxd

6/8/09

4:27 PM

Page 129

NAME

DATE

SECTION

Unit 9 Melody 9A Melodic Dictation: Short Melodies from Music Literature Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before. Sample Melody 1

Sample Melody 2

¦.π π ¹ ¹ 0 π π π π π π π π π π π  π Sample Melody 3 Ý −− − 2 ¼ π π π π π π π π π π ¦ π π π π π π π ý ¼ ý − 4 ²2 ππ  Š 4 π í π π π π πý

Each exercise consists of a short melodic excerpt from music literature. Complete each melody on the staff in notation.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1.

2.

²0 π Š 0

²² 0 Š 0 π

3.

4.

− Š − −−− 42 π 5.

²²² 2 ð Š 0 6.

π 2 Š4

Š /0 π

7.

8. (R)

π -. Š 4  9. (R)

²² / Š 0ð

²²²² . Š . ¼ π 10. (R)

π Š { 129

ben01366_un09.qxd

6/8/09

4:27 PM

Page 130

11. (R)

12. (R)

² Š ² .. π 13. (R)

Ý . π π . 14. (R)

π

 − 2 π Š 4 ¼

− Š − .0 (R) means recorded.

Melody 9B Error Detection: Bach Melodies Each exercise consists of a phrase of music by Bach. Place a circle around the three numbers that represent pitches different from those played. 1.

²²² Š ‡

π π π π π π

π ð

π

π π π π

π ð

1

7

9

10

14

2

3

4

5

6

8

11

12

13

15

2.

π ²π π π π ý  π π π π π π π π ý π π π Š ./ π π ý π   1

2

3

4

5

6

7

8

9 10 11

12

13 14

15

16

17 18

19

3.

Š /0 π 1

π π π ²π

π ð

π π π π π

π πý π π

2

6

8

13

3

4

5

7

9

10

11

12

14

15 16

4.

² Š ‡π ππ π πππ ππ π π π ππ ππππππππ ð 1

2 3

4

5 6 7

8 9

10 11 12 13 14

15 16 17 18 19 20 21 22

5.

Š − /0 π π π ý 1

130

2

Ear Training

3

π π π π π 4

5

6

7

8

π 9

π π π

π

ðý

10

13

14

11

12

23

ben01366_un09.qxd

6/8/09

4:27 PM

Page 131

NAME

DATE

SECTION

6.

ý π  π − -. Š 4 π π π π π π π π 1

2

3

4

5

6

7

8

9

π π π π π π π ¹ ¼

10

11 12 13 14 15 16 17

7.

²² 0 π π π π π π π π π π Š 0 π ²π 1

2

3 4 5 6 7

8

π π ²π π π π π π ¼ ½

9 10 11 12

13 14 15 16 17 18 19

20

8.

π ý π π π π π π ý π ðý π π ² π π π ² π ¼ ½ 

Š − ./ π 1

2

3

4

5

6

7

8

9

10

11

12 13 14 15

¼

16

9.

π π ¦π π  π −− / π π π π π − π Š 0π π π ππππ πππππ π 1 2 3

4 5 6 7 8 9

10 11 12 13 14 15

16 17 18 19 20 21

22 23 24

10.

² π π Š ²‡ 1

2

πý π π π π

ð

π π

πý π π π π π π π π

3

8

9

11

4 5 6

7

10

12 13 14 15 16 17

18

19

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Melody 9C Melodic Dictation: Two-Part Dictation Each exercise consists of a short, two-voice melodic composition. Complete the missing tones on the staff in notation. 1.

2.

² Š .0 π

Š − /0 ðý

ݲ. ð 0

Ý −/ π 0

! Unit 9

131

ben01366_un09.qxd

6/8/09

4:27 PM

Page 132

3.

4.

Š 42 π

− Š − − 45 π

Ý 2 πý 4

Ý −− 5 π ý −4

! 5.

6.

− Š − 42 π

² Š 42 π ý

Ý −− 2 π ý 4

Ý ²2 π 4

! 7.

8.

²²²² 0 ¹ Š 0 π

Š − 02 π

! Ý ²²²² 0 π 0

Ý −2 ðý 0

π π

π

9.

10.

²²² . π Š 0π

− Š − 42 π ý

Ý ²²² . π π 0

Ý −− 2 ¹ π 4

! 11.

12.

² Š 4/ π ý

² Š 45 π

ݲ/ π 4

Ý ²5 π 4

! 13.

²0 ¹ π π Š 0

! ݲ0 π 0 π 132

Ear Training

¼

¹ π π

ben01366_un09.qxd

6/8/09

4:27 PM

Page 133

NAME

DATE

SECTION

Melody 9D Intervals: Harmonic Intervals of the m3, Tritone, P5, m6, M6, and m7 Each exercise consists of a single interval. 1. Immediately after hearing the interval, sing both pitches: lower to upper for numbers 1–30, and upper to lower for numbers 31–60. 2. Harmonic intervals (both pitches sound together) are considered more difficult than melodic (one note, then the other) because the two tend to fuse into a single homogenized effect. 3. Separating the two into distinct pitches helps considerably in recognizing and identifying the interval, but remember that this procedure is temporary. 4. Gradually you must learn to identify intervals directly—without going through the intermediary step. Use the crutch for a while, and at the same time keep trying to graduate to the next level. 5. Write the remaining note of the interval on the staff. 6. Write the name of the interval in the blank provided. The given note is the lower of the two. 1.

2.

3.

4.

5.

Ð

Ð

ŠÐ Ý11. Ð

Ð 12.

13.

−Ð

23.

7.

8.

16.

²Ð

−Ð

24.

25.

Ð

17.

18.

10.

Ð 19.

−Ð

×Ð 26.

20.

²Ð

−Ð 27.

Ð 28.

Ð

Ð

−Ð

Ð

Ð

²Ð

Š −Ð

9.

Ð Ð

Ð 15.

²Ð

21.–40. (R) 21. 22.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

14.

6.

29.

−Ð

²Ð

²Ð

30.

Ð

The given note is the higher of the two.

Ý31. Ð 41.

Š ²Ð Ý51. −−Ð

32.

33.

Ð

34.

42.

43.

−Ð 52.

35.

Ð

Ð

Ð

44.

Ð

45.

37.

38.

Ð 47.

Ð

48.

−Ð

39.

Ð

49.

Ð

40.

Ð 50.

Ð

²Ð

−Ð 54.

55.

Ð −Ð

Ð

46.

Ð

−Ð 53.

36.

Ð

56.

Ð Ð

57.

²Ð

58.

59.

²Ð

60.

−Ð

−Ð

Unit 9

133

ben01366_un09.qxd

6/8/09

4:27 PM

Page 134

Melody 9E Models and Embellishments: Descending First-Inversion Triads 1. The model in this section is made up of descending first-inversion triads (three voices). Sing all parts of this structure before class. 2. Your instructor will play the structure followed by embellishments of that structure. 3. Write the model’s embellishments on the numbered staves provided. Model:

$ ²² ðð 0ð %Š 0 Embellishments: 1.

$ ²² 0 %Š 0 $2. ²² 0 %Š 0 $3. ²² 0 %Š 0 $4. ²² 0 %Š 0 $5. ²² 0 %Š 0 $6. ²² 0 %Š 0 $7. ²² 0 %Š 0 $8. ²² 0 %Š 0 134

Ear Training

ðð ð

ðð ð

ðð ð

ðð ð

Ð ÐÐ

ben01366_un09.qxd

6/8/09

4:27 PM

Page 135

NAME

DATE

SECTION

Harmony 9A Chord Function Identification: Six-Four Chords Each exercise consists of a series of four chords in block harmony. Indicate: 1. The analysis of each of the four chords in the blanks provided. Notate each musical example as requested by your instructor. 2. If requested by your instructor, show the embellishing nature of these chords using brackets as shown below. 3. The type of 64 chord: CADENTIAL

The tonic 64 chord embellishes the V chord at the cadence.

Š ππ ππ ππ ππ

! Ý π π π ππ ii6

I64

V

I

V PASSING BASS

The lowest tone (usually bass) acts as a passing tone between two triads, often between a triad and its inversion, or vice versa.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

!

Š ππ

π

ππ

π Ýπ

π π

ππ

I

V64

I6

I NEIGHBORING TONE, or STATIONARY BASS

The bass tone is preceded and followed by the same tone, and is interposed between two root positions of the same triad.

Š ππ

ππ

ππ

Ýπ

ππ

π

V

I64

V6

! V

Unit 9

135

ben01366_un09.qxd

6/8/09

4:27 PM

Page 136

ARPEGGIATED BASS

The bass participates in an arpeggiation of a chord.

π Š π ππ ππ ππ

!

π π Ý ππ ππ π I

I6

I64

I

I The following illustration indicates the correct procedure: Example Instructor plays the following example:

π π π Š π π π ππ

! Ý π ππ ππ π I

IV

I64

V V

The notation above and analysis show the proper response: Cadential TYPE

1.

2.

3.

4.

5.

Š

! Ý TYPE

136

Ear Training

TYPE

TYPE

TYPE

TYPE

ben01366_un09.qxd

6/8/09

4:27 PM

Page 137

NAME

DATE

6.–15. (R) 6.

7.

8.

SECTION

9.

10.

Š

! Ý TYPE 11.

TYPE 12.

TYPE 13.

TYPE 14.

TYPE 15.

Š

! Ý TYPE 16.

TYPE 17.

TYPE 18.

TYPE 19.

TYPE 20.

Š

! Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Ý TYPE

TYPE

TYPE

TYPE

TYPE

Harmony 9B Chords in Music Literature: Six-Four Chords 1. Each exercise consists of four examples from music literature, which include a variety of harmonic rhythms and nonharmonic tones.

Unit 9

137

ben01366_un09.qxd

6/8/09

4:27 PM

Page 138

2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another. A.

B.

Š − ππ ππ ππ ππ

! Ý − ππ ππ ππ π π IV

I64

V

I

C.

π ππ ππ π π π π π π

ππ

ii6

I

I64

D.

ππ

π π

ππ ππ π π π π π π π

V

ii6

I

I64

V

π π ππ π π π π π π

ππ

V7

I

π

I

IV64

π

3. Your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and same inversion as one of the four models above. 4. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below. 1.

2.

3.

4.

5. When the first four examples are completed, use the same procedure for models E–H. These (E, F, G, H) are the remaining four models. Pair them up with the examples from literature (5, 6, 7, 8). E.

!

F.

Š − ππ ππ π π Ý − ππ ππ ππ ii6

I64

5. (R)

V7

G.

H.

ππ

ππ π π π

ππ ππ ππ ππ

π π

ππ ππ π π π π

ππ π π π π π π

I

6. (R)

V6

I

I64 7. (R)

V

IV6

I64

IV

I6

ππ π π π π ππ π π π π π π IV6

I64

V7

I

8. (R)

Harmony 9C Harmonic Rhythm and Harmonic Analysis of Folk Melodies Each exercise consists of a phrase in four-part harmony from a folk melody. The first melody note is given for each exercise. Recognize when a harmony is used longer than a single beat. 1. Write the melody on the staff in notation. 2. Bracket the melody tones that are supported by a harmony that continues longer than one beat. 3. Indicate the harmonic analysis of each bracketed area above the bracket. (If more than one position of a chord occurs within a bracket, indicate the one with the lowest-sounded tone.) 4. Circle and name any nonharmonic tones contained in the melody. Use abbreviations.

138

Ear Training

ben01366_un09.qxd

6/8/09

4:27 PM

Page 139

NAME

DATE

SECTION

1.

²²² / Š 0π 2.

Š − 00 π ý 3.

Š − 00 π 4. (R)

² Š { πý 5. (R)

Š−{ð 6. (R)

ý − Š − − 00 π

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Harmony 9D Harmonic Dictation: All Diatonic Triads in Chorale Phrases Each exercise consists of a chorale phrase. 1. Phrases 1–3 contain only four root-position triads each. Nonharmonic tones are limited to unaccented passing tones and an occasional suspension. 2. Phrases 4–9 contain seven triads each in any position. Nonharmonic tones are: UPT, APT, ET, and 4–3 suspensions. 3. Indicate the roman numeral analysis of each triad in the blanks provided. 4. List any nonharmonic tones beneath the harmonic analysis. 5. If the instructor requests it, give the melodic line of both the soprano and bass voices. 6. If the instructor requests it, give the melodic line of both the alto and tenor voices.

Unit 9

139

ben01366_un09.qxd

6/8/09

4:27 PM

−− − / 1.π Š 0

!

2.

π Ý −− / π −0 E −M:

Page 140

I

3.

− /0 π

²² / π 0 π

ππ / −0

²² / ππ 0

FM:

I

4.

DM:

5.

² { π

Š{ π

! π ²{ π

Ý{ π π UPT CM:

I

GM:

6.

I

7.

² Š −{ π

{ π

π Ý −{ π

π ²{ π π

!

UPT Dm:

i

Em: UPT

²²² 8.π π Š {π

! Ý ²²² { π π π

i

9.

−−− { ππ

π −−− { π

UPT AM:

I

Harmony 9E Error Detection: Triads in Four Parts Each exercise consists of two triads in four parts.

140

Ear Training

Cm:

i

iii

ben01366_un09.qxd

6/8/09

4:27 PM

Page 141

NAME

DATE

SECTION

As played by the instructor, one note in each exercise is incorrect. Any voice may contain an error. 1. Indicate the chord (number 1 or number 2) containing the error. 2. Also indicate the voice containing the error: S = soprano A = alto T = tenor B = bass The example indicates the correct procedure. Ex. Chord:

2

Voice:

A

−−− 1.π π 2. π − Š π π ππ π Ý −− − ππ π π ¦ π − π

!

3.

4.

ππ π π ππ π

5.

6. 7. π π π ππ ππ π π π ππ ππ π ¦ ππ π π ¦ π π ππ π

8.

9. π ππ π π ¦ π π π ππ π

ππ 10.ππ ¦ ππ π ππ π π

Rhythm 9A Rhythmic Dictation: Compound Meters with Quarter-Beat Values Each exercise consists of a short, two-measure melodic excerpt. The meter signature and beginning durational value are given. Complete each rhythm on a neutral pitch.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1.

2.

42 π 3.

42 π 5. (R)

42 π 7. (R)

ý 42 π

42 π 4.

42 π 6. (R)

¹ 42 8. (R)

42 π Unit 9

141

ben01366_un09.qxd

6/8/09

4:27 PM

Page 142

9. (R)

10. (R)

ý 42 π

42 π π 11.

12.

ý 45 π

ý 45 π

13.

14.

45 π

45 π

15.

16.

-.4 π ý

-.4 π ý

Transcription 9 Refer to instructions found in Transcription 1 (page 14). Recorded Example 25 in B b major Notate the entire musical selection that is played in this example.

− Š − /0 π



Ý −− / π 0



! − Š−

! Ý −− − Š−

! Ý −− 142

Ear Training

ben01366_un09.qxd

6/8/09

4:27 PM

Page 143

NAME

DATE

SECTION

− Š−

! Ý −− − Š−

! Ý −− Recorded Example 26: Chord progression using first and second inversion chords in the key of B b major. After the two-measure “count off,” measures 1–16 of the following example are played twice. This is followed by the two-measure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral and inversion below the staff.

− Š− {

π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & & 

& & & &

& & & &

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

5

9

13

17

Unit 9

143

ben01366_un09.qxd

6/8/09

4:27 PM

Page 144

Recorded Example 27: Chord progression plus melody using second inversion chords in the key of G major. After the two-measure “count off,” measures 1–16 of the following example are played three times, once without the melody and twice with the melody. This is followed by the two-measure “tag” at the end. Write the chord symbol of each triad above the staff on the beat where it first occurs. Write each chord’s roman numeral and inversion below the staff. Write the melody on the staff.

² Š {π ¼ π ¼ 1

π π π π

²

Š 5

²

Š 9

²

Š 13

² 

Š 17

²

Š

144

Ear Training

ben01366_un10.qxd

6/8/09

4:27 PM

Page 145

NAME

DATE

SECTION

Unit 10 Melody 10A Melodic Dictation: Sequences Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before. Sample Sequence 1

Sample Sequence 2

Sample Sequence 3

Ð −Ð Ð Ð −Ð Ð Ð Ð Ð Ð −Ð Ð Ð −Ð Ð ŠÐ Ð Ð Ð Ð Ð −Ð Ð Ð Each exercise consists of eight notes, four of which are given. Write the remaining four notes on the staff in notation. Diatonic sequences with no accidentals: 1.

2.

ŠÐÐÐÐ

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Ý 4. Ð Ð Ð Ð

3.

ÐÐÐÐ 5.

ÐÐÐÐ

6.

Ð

ÐÐÐÐ

ÐÐÐ

Diatonic sequences:

7.

Š Ð −Ð Ð Ð 10.

Ý −Ð Ð Ð Ð

8.

9.

ÐÐÐÐ 11–18. (R) 11.

²Ð ²Ð Ð ²Ð

Ð −Ð Ð −Ð 12.

−Ð −Ð Ð −Ð

145

ben01366_un10.qxd

6/8/09

4:27 PM

Page 146

Nondiatonic sequences: 13.

14.

15.

Ð −Ð Ð Ð

Š Ð −Ð Ð ² Ð Ý 16. −Ð Ð Ð −Ð

Ð Ð Ð −Ð

17.

18.

²Ð ²Ð Ð Ð

−Ð −Ð Ð Ð

Melody 10B Error Detection: Themes from Music Literature Lacking Accidentals Each exercise consists of a short melodic excerpt from music literature. 1. The following themes are excerpted from the interior of longer compositions, and the actual key of the melody is in conflict with the key signature. 2. In your printed version, the accidentals that would help to determine the actual key of the excerpts have been removed. The instructor plays the excerpt exactly as written by the composer. 3. Write the missing accidentals on the staff in notation. 4. Write the key of the melody in the blank provided. The notes of each melody are numbered for convenience in class discussions. Actual key of melody:

1.

²  π π Š .. π π π π π π 12

3

4

5

6

7

8

9

π π π π π π π π

ð

ð 10

11 12 13 14

19

15

16

17

18

Actual key of melody:

2.

 ²²² 2   π π π π π π π Š 4  π π π  π π π π π π π 1

2

3

4

5

6

7 8 9

10

11

12 13

14

15

16 17

Actual key of melody:

3.

π π π π π π π π π π π π − / π π π π π π π π π Š 0 ¼ 1

2

3

4

5

6

7

8

9 10 11 12 13 14

15 16 17 18 19 20 Actual key of melody:

4.

²²² 2 π π π ý π π π  π π  π π π ý π π π πý Š 4   1

146

21

2

Ear Training

3

4 5

6

7

8

1 9 10 10 2 11

12 13

14 15

π π π ý 16

17 18

ben01366_un10.qxd

6/8/09

4:27 PM

Page 147

NAME

DATE

SECTION

Actual key of melody: π π π π π π π π π ¾ π π ¾ π ð π π π π π π π    

5.

²²² ¦ ð Š { 1

2 3 4 5 6

7

8

9

10 11

12

13

14

15 16 17 18 19 20

21

Actual key of melody:

6. (R)

² Š .0 π π 1

2

π 

π π 

π 

3

4

6

5

π π

π 

π π π π π π π π 

7

9

10 11 12 13 14 15

8

16

Actual key of melody:

7. (R)

ý π Š { πý π π π π π π π π π π π π πý π πý π πý π πý πý π π π π π  1 2

3

4 5 6 7 8 9

10

11 12 13 14

15 16 17 18 19 20 21 22

Actual key of melody:

8. (R)

π π π π π π π π π π π π π ¼

Š .. π π π π π ¼ 1

2

3

4

5

6

7

8

9

10 11 12 13

²² Š { ¦π 1

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

14 15 16 17 18

Actual key of melody:

9. (R)

10. (R)

23 24 25 26 27

π π ¼ π

π π ¼ π

π π π ý π π π ¼

2

5

8

3

3

Š /0 π π π ð π 1 2 3

4

5

4

6

ð π

ð π

6

8

7

9

7

9

10

11

12

13

key of melody: π π π π Actual π  π π ππ π π 1 10 11 12 13 14 14 2 15 16 17 18

19 20

Melody 10C Two-Voice Dictation Each exercise consists of a short excerpt of music in two voices. Numbers 1–7: Write the numbers indicating the harmonic intervals occurring between the two voices. It is not necessary to give the quality of the interval. Thus, instead of P8, M3, A4, M7, and so on, simply state 8, 3, 4, 7, and so on. Numbers 8–11: Complete the two-voiced composition as dictated. The first note in each voice is given.

Unit 10

147

ben01366_un10.qxd

6/8/09

4:27 PM

Page 148

1. 1

2

3

4

5

6

7

1

2

3

4

5

6

7

8

9

10

1

2

3

4

5

6

7

8

9

10

1

2

3

4

5

6

7

8

9

10

1

2

3

4

5

6

7

8

1

2

3

4

5

6

7

1

2

3

4

5

6

7

2.

3.

4.

5.

6.–11. (R) 6.

7.

8. (R)

²²² / Š 0π

! Ý ²²² / 0

ÿ

π

9. (R)

Š − 00 π

! Ý−0 π 0 10. (R)

Š 42 π

! Ý2 ÿ 4

148

Ear Training

π

8

ben01366_un10.qxd

6/8/09

4:27 PM

Page 149

NAME

DATE

SECTION

11. (R)

Š − /0 π

! Ý − / ðý 0 Melody 10D Intervals: All Intervals Played Harmonically Each exercise consists of a single interval. 1. Indicate the name of the interval in the blank provided. 2. Write the remaining note of the interval on the staff. The given note is the lower of the two: 1.

2.

3.

4.

5.

6.

7.

8.

9.

Ð ŠÐ Ý11. Ð

12.

Ð

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

21.–40. (R) 21. 22.

ŠÐ

²Ð

Ð

Ð

Ð 13.

Ð 14.

15.

²Ð −Ð 23.

24.

²Ð

16.

²Ð 25.

−Ð

10.

Ð

−Ð 26.

Ð Ð

Ð 17.

18.

19.

−Ð

20.

²Ð ²Ð

27.

28.

−Ð 29.

30.

Ð −Ð

−Ð

Ð

²Ð

Ð

The given note is the higher of the two: 31.

ÝÐ

32.

Ð

33.

Ð

34.

35.

36.

37.

Ð

Ð Š

42.

43.

²Ð −Ð

44.

Ð

39.

45.

46.

²Ð

47.

48.

−Ð Ð

49.

−Ð Ð

40.

Ð

Ð

Ð 41.

38.

Ð

Ð

Ð 50.

²Ð

Unit 10

149

ben01366_un10.qxd

6/8/09

51.

4:27 PM

Page 150

53.

54.

52.

55.

²Ð

56.

−Ð

Ý ²Ð

−Ð

²Ð

−Ð

57.

58.

−Ð

Ð

59.

×Ð

60.

Ð

Melody 10E Models and Embellishments: 7th-Chord Patterns in Three Voices 1. The model in this section is made up of three voices performing a circle progression or series of ascending fourth root progressions. Sing all parts of this structure before class. 2. Your instructor will play the structure followed by embellishments of that structure. 3. Write the model’s embellishments on the numbered staves provided. Model:

ð Š 00 ð

ðð

Ý0ð 0

ð

ðð

ðð

ð

ð

ðð

ðð

ð

ð

ðð

ð ð

ð

ð

! Embellishments: 1.

Š 00

! Ý0 0 2.

Š 00

! Ý0 0 3.

Š 00

! Ý0 0 150

Ear Training

ben01366_un10.qxd

6/8/09

4:27 PM

Page 151

NAME

DATE

SECTION

4.

Š 00

! Ý0 0 5.

Š 00

! Ý0 0 Harmony 10A Chord Function Identification: Dominant 7th Chords Each exercise consists of a series of four chords in block harmony. 1. Analyze each of the four chords. 2. The V7 is the only new chord introduced in this unit. It is analyzed as follows: Root Position

First Inversion

Second Inversion

Third Inversion

− Š −− π

π

ππ

π

π Ý −− π −

ππ

ππ

ππ

E −M: V7

V65

V43

V42

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

! 3. Write the analysis in the blanks provided. Notate each musical example as requested by your instructor. Numbers 1–15 contain root-position chords only: 1.

2.

3.

4.

5.

Š

! Ý

Unit 10

151

ben01366_un10.qxd

6/8/09

4:27 PM

6.

Page 152

7.

8.

9.

10.

12.

13.

14.

15.

Š

! Ý 11.–20. (R) 11.

Š

! Ý Numbers 16–25 contain inversions: 16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

Š

! Ý

Š

! Ý

Harmony 10B Chords in Music Literature: Dominant 7th Chords (All Inversions) 1. Each exercise consists of four examples from music literature, which include a variety of harmonic rhythms and nonharmonic tones.

152

Ear Training

ben01366_un10.qxd

6/8/09

4:27 PM

Page 153

NAME

DATE

SECTION

2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another. A.

!

Š − ππ π ππ π π π Ý−π π π V65

I

V43

π B.− π ππ π − π

C. π π ππ π − π π π π π π π π − π

I6

I

V7

IV

I6

V42

D.

π π π − ππ ππ π π π π ππ π π π −

ππ π π ππ

I6

I

V65

I

I

V65

vi

3. Your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and same inversions as one of the four models above. 4. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below, and prepare for the next example from music literature. 1.

2.

3.

4.

5. When the first four examples are completed, use the same procedure for models E–H. These (E, F, G, H) are the remaining four models. Pair them up with the examples from literature (5, 6, 7, 8).

E.

!

Š − π ππ π π Ý−π π

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

I 5. (R)

V43

ππ π F.− π π π π G.− π π π π ππ ππ ππ ππ ππ π π π − − π π

ππ π − ππ π ππ ππ π π π π π ππ − π π π π π

V65

I

I 6. (R)

I

V65

I

V

7. (R)

I

H.

V65

V

I

V43

I

V6

8. (R)

Harmony 10C Nonharmonic Tones: Bach Chorales (2) Each exercise consists of a short excerpt in four-part harmony from a Bach chorale. Each exercise contains two, three, or four nonharmonic tones. The rhythm (only) is given. Circle the nonharmonic tones, and write the abbreviations representing the types in the blanks provided. Keep the order the same as in the excerpt. Each exercise is numbered for greater ease in class discussions.

Unit 10

153

ben01366_un10.qxd

6/8/09

4:27 PM

Page 154

Abbreviations: UPT

=

unaccented passing tone

APP

=

appoggiatura

APT

=

accented passing tone

SUS

=

suspension

NT

=

neighboring tone

A

=

anticipation

ET

=

escape tone

Example: The rhythm given for you is:

The instructor plays:

ET

SUS

Š ππ π

ππ

1

3

!

2

q ππ π ππ 4

5

ππ

π Ýπ

6

!

7

π

1

3

4

π

π

2

π

π π

ππ

π π

q π π π

Response:

1.

ET

5

6

π

4–3 SUS

π π π π π π π 2. π π

π π ðð

π π π π π ðð ýý

π π π

ðð ýý

1 2 3 4 5 6 7 8

1

4 5 6

1

6

1 2 3 4 5 6

7

π π πππ

π π π π ðð

ðð ýý

π π π π π π ðð ýý

!

π π ðπ ý 1

π

154

2 3

4.

2 3 4 5

π π π

6. (R)

5.

!

3.

2

3

4

πð π

Ear Training

7. (R)

π π 

π π

5

6

1

π

π π π π

2

π π π 3

4

5

6

7

π

π

8

1

π π π

π π ýý π ðð 2

π π

3

4

5 6

7

π ý π π ðð

ben01366_un10.qxd

6/8/09

4:27 PM

Page 155

NAME

DATE

8. (R)

9. (R)

π

!

1

SECTION

2

10. (R)

π ý π ðð 

π

π π π π π π

4

5 6 7

1

2

π π π π ðð

π

π ýý π π

π ý π π π ðð ýý 

π

π

3

7

1

2

ðð ýý

π

4

π π π

5

6

π

3

3 4 5

6

7

8

π

Harmony 10D Harmonic Dictation: The Dominant 7th Chord in Chorale Phrases Each exercise consists of a chorale phrase.

1. 2. 3. 4.

Numbers

Number of Chords

1–3 4–9

4 7

Position All in root position Root position and inversions

Indicate the roman numeral analysis of each triad in the blanks provided. List any nonharmonic tones beneath the harmonic analysis. If the instructor requests it, give the melodic line of both the soprano and bass voices. If the instructor requests it, give the melodic line of both the alto and tenor voices. 1.

2.

3.

− Š − − /0 π

²/ 0 π

²²² / 0 π

π Ý −− / π −0

² / ππ 0

²²² / ππ 0

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

! E −M: iii 4.

!

Em:

i

AM: vi 5.

Š { ππ

−− 00 ππ

π Ý{π π

π π −− 00 UPT

UPT CM: I

B −M: I

Unit 10

155

ben01366_un10.qxd

6/8/09

4:27 PM

Page 156

²² 6.π Š { π

!

7.

²² π { π

π Ý ²² { π

π ²² { π Bm:

DM: I 8.–9. (R) 8.

i

9.

− Š−{ π

−−−− { π

π Ý −− { π

π −− −− { π

! Gm:

Fm:

i

i

Harmony 10E Error Detection: Triads or Dominant 7th Chords Each exercise consists of two chords. As played by the instructor, one note in each exercise is incorrect. Any voice may contain an error. 1. Indicate the chord (number 1 or number 2) containing the error. 2. Also indicate the voice where the error occurs: S = soprano A = alto T = tenor B = bass The example indicates the correct procedure.

!

Chord:

2

Voice:

A

²²² 1. 2. π 3. π π Š π ππ π π ππ π π π π ² Ý ²² π π π π π π

156

Ear Training

4.

5.

6. 7. π π π π π ππ π π π π π π π π ππ ππ π π ππ π

ππ 8. ππ π 9. π π ππ ππ ππ π

10.

π ππ π π π π ππ ππ

ben01366_un10.qxd

6/8/09

4:27 PM

Page 157

NAME

DATE

SECTION

Rhythm 10A Rhythmic Dictation: Triple and Triplet Subdivisions Each exercise consists of a short melodic excerpt of music. Most, but not all, of these exercises contain triple or triplet subdivision of the beat. Complete the rhythm of each excerpt on a neutral pitch. 1.

.0 π 2.

42 π 3.

-.4 π ý 4.

00 π 5. (R)

ý 45 π Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

These rhythms are a review of previous material. 6. (R)

/0 ¹ π  7. (R)

.0 ¾ π  8. (R)

.0 π

Unit 10

157

ben01366_un10.qxd

6/8/09

4:27 PM

Page 158

Rhythm 10B Rhythmic Dictation: Two-Voice Rhythms Each exercise consists of a two-voice excerpt. Complete the rhythmic values for both voices on a neutral pitch. 1.

2.

πý 42 ý

π 42

3.

4.

/0 π ý

/0 π

5. (R)

6. (R)

00 π

00 ðπ ý 7. (R)

π π π π π πý 42 ý

πý

πý

πý

8. (R)

/0 ¼π

ð

π

Transcription 10 Refer to instructions found in Transcription 1 (page 14). Recorded Example 28 in F major Notate the entire musical selection that is played in this example.

π − . Š 0 ÿ

π

! Ý−. 0

158

ÿ

Ear Training

ÿ

π

ben01366_un10.qxd

6/8/09

4:27 PM

Page 159

NAME

DATE

SECTION

Š−

! Ý− Recorded Example 29: Chord progression using inversions of the V7 chord in the key of C major. After the two-measure “count off,” measures 1–16 of the following example are played twice. This is followed by the two-measure “tag” at the end. Write the chord symbol of each chord above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff. Be careful not to consider “vamping” with the root and fifth of a chord as a change of inversion. Chords and inversions clearly change on the first beat of each measure.

Š {π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & & 

& & & &

& & & &

5

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

9

13

17

Unit 10

159

ben01366_un10.qxd

6/8/09

4:27 PM

Page 160

Recorded Example 30: Chord progression plus melodic bass line using inversions of the V7 in the key of C major. After the two-measure “count off,” measures 1–16 of the following example are played twice. This is followed by the two-measure “tag” at the end. Write the chord symbol of each chord above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff. Write the bass line on the staff.

Ý{π ¼ π ¼

π π π π

1

Ý 5

Ý 9

Ý 13

Ý



17

Ý

160

Ear Training

ben01366_un11.qxd

6/8/09

4:28 PM

Page 161

NAME

DATE

SECTION

Unit 11 Melody 11A Melodic Dictation: Short Melodies That Modulate to Closely Related Keys Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before. Sample Melody 1

π

². Š 0π π

π

π π

π π π π π ²π π π π

Sample Melody 2

π

Š − /0

π

π π ð

π

π π π ²π

π

π π π

Sample Melody 3

ð

ð

ð

π π

Ý−/ ð .

ð ²Ð

ð

Ðý

Each exercise consists of a melody that modulates to a closely related key. Notate each melody on the appropriate staff below. The first notes are given for the melodies in this section.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1.

²² / Š 0π π 2.

− Š − .0 π 3.

Ý−. π 0 4.

Ý / ²π 0 161

ben01366_un11.qxd

6/8/09

4:28 PM

Page 162

5.

²²² Š { πý 6.

²/ π Š 0 7.–10. (R) 7.

Ý{ π 8.

Ý −− − / π − 0 9.

− ý Š − 45 π 10.

− Š − − ./ ð (R) means recorded.

Melody 11B Error Detection: Excerpts from Music Literature Each exercise consists of a short melodic excerpt from music literature. 1. In each exercise, the notes are on the proper lines or spaces, but either lack proper accidentals or contain accidentals that should be removed. The first note of each exercise is correct. 2. Add or delete accidentals to make the printed copy conform to that played by the instructor. Do not change the letter names of the notes. 3. The notes in each exercise are numbered for convenience in class discussions. 1.

π π − Š − /0 π 1

162

2

Ear Training

3

ð 4

π 5

π π π

ð

π

π π π

π π ¼

6

9

10

11

14

7

8

12

13

15

ben01366_un11.qxd

6/8/09

4:28 PM

Page 163

NAME

DATE

SECTION

2.

² Š ² /0 ð

π

π π π ¼

π π π π π ²π π ý π π ¼

1

2

3

6

4

5

7

8

9

10 11

12

13 14

3.

π ²π π π π / Š0 1

2

3

4

5

π π π π π

π π π π π π π π π π π π

6

11 12 13 14 15 16

7

8

9 10

17 18 19 20 21 22

4.

− Š − − /0 ð ý 1

ðý

ð π π π ¹ý π π π π ¦ π −π ¹ý π π π π π

2

3

4

5

6

7

8

9 10

11 12

13

14 15 16

17

5.

ππππ π π π π π π π π π π π π π π π π π π π π π π π − . π Š 0 1 2345

6 7 8

9 10 11

12 13 14

15 16 17 18 19 20 21 22 23 24 25 26 27 28

6. (R)

ð π π π π π π π π Š − 02 π π π ð π π π π π π ð ¼ 1

2

3

4

5

6

7

8

9

10

11 12 13 14 15 16

17 18 19 20

7. (R)

π ²π ý π ²π ý π π ý π ²π ý π  π ý π ý π π ² ¦ π ý π   Š − .0   πý π     Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

8. (R)

−− /  π π π ý π π ¦ π π ý π π −π π π ¦ π −π π π ¹ − Š 0π π   1

2

3

4

5

6

7

8

9 10 11

12 13 14 15 16 17

18

9. (R)

² Š ² .. π π π π 1

2

3

4

π π π π

π π π π

π ²π π π

π

5

9

13

17

6

7

8

10

11

12

14

15

16

10. (R)

² ðý Š .. 1

π 2

π ð 3

4

π 5

π ð

π

²ð

ð

¦ð

6

7

8

9

10

Unit 11

163

ben01366_un11.qxd

6/8/09

4:28 PM

Page 164

Melody 11C Phrase Relationships and Cadences Each exercise consists of a number of phrases of homophonic music. 1. Identify the number of phrases in each excerpt. 2. Identify the relationship of the phrases to each other (using letters). Use “P” after a letter to indicate a parallel relationship. 3. Identify the types of cadences at the end of each phrase. 4. Optional: Write the first phrase on the staff in notation. 1. Number of phrases Phrase relationships Type of cadence at the end of each phrase (in order of appearance)

−− . π − Š 0 2. Number of phrases Phrase relationships Type of cadence at the end of each phrase (in order of appearance)

² Š { πý 3. Number of phrases Phrase relationships Type of cadence at the end of each phrase (in order of appearance)

Š .0 π ý 4. Number of phrases Phrase relationships Type of cadence at the end of each phrase (in order of appearance)

Š − /0 ð 5.–8. (R) 5. Number of phrases Phrase relationships Type of cadence at the end of each phrase (in order of appearance)

². ππππ Š 0 6. Number of phrases Phrase relationships Type of cadence at the end of each phrase (in order of appearance)

² Š ² 42 πl πl πl

164

Ear Training

ben01366_un11.qxd

6/8/09

4:28 PM

Page 165

NAME

DATE

SECTION

7. Number of phrases Phrase relationships Type of cadence at the end of each phrase (in order of appearance)

− Š − − 42 π  8. Number of phrases Phrase relationships Type of cadence at the end of each phrase (in order of appearance)

² Š 4/ πl πl πl *(R) means recorded.

Melody 11D Intervals: All Intervals Played Harmonically Each exercise consists of a single interval played harmonically. 1. Write the name of the interval in the blank provided. 2. Write the remaining note on the staff. The given note is the lower of the two: 1.

2.

3.

4.

5.

6.

7.

8.

Ð

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

ŠÐ 11.

Ð 12.

Ð Ð 13.

−Ð 14.

15.

16.

Ð

Ý 21.–40. (R) 21.

22.

23.

Ð 24.

Ð

17.

18.

20.

27.

Ð

Ð

Ð 26.

Ð

²Ð

28.

Ð

29.

30.

−Ð Ð

Š ²Ð ²Ð

19.

Ð

25.

10.

Ð Ð

²Ð −Ð

Ð

9.

²Ð

²Ð

Ð

²Ð

²Ð

Unit 11

165

ben01366_un11.qxd

6/8/09

4:28 PM

Page 166

The given note is the upper of the two: 31.

Ý −Ð

32.

33.

34.

35.

Ð

36.

Ð

Ð

37.

38.

40.

Ð

Ð

Ð

39.

²Ð

−Ð

Ð 41.

42.

43.

44.

45.

46.

47.

Ð Š −Ð 51.

Ý ²Ð

Ð

−Ð

52.

53.

−Ð

−Ð

−Ð 54.

²Ð

49.

50.

²Ð

Ð

Ð 55.

56.

57.

−Ð

Ð

48.

²Ð

58.

²Ð

²Ð

59.

²Ð

60.

²Ð

²Ð

Melody 11E Models and Embellishments: Chord Progression with Melodic Embellishments 1. The model in this section is made up of a famous chord progression with melodic and textural embellishments. You will probably recognize it as the progression of the Pachelbel “Canon.” Sing all parts of this structure before class. 2. Your instructor will play the structure followed by embellishments of that structure. 3. Write the model’s embellishments on the numbered staves provided. Model

$

ð Š 00 ðð

ððð

ðð ð

ððð

ðð ð

ððð

ðð ð

πðð π

Ý0 ð % 0

ð

ð

ð

ð

ð

ð

ð

Embellishments: 1.

$ Š 00 Ý0 % 0 166

Ear Training

ÐÐ Ð Ð

ben01366_un11.qxd

6/8/09

4:28 PM

Page 167

NAME

DATE

SECTION

$2. Š 00 Ý0 % 0 $3. Š 00 Ý0 % 0 $4. Š 00 Ý0 % 0 $5. Š 00

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Ý0 % 0 Harmony 11A Chord Function Identification: vii°7 (Diminished 7th Chord) Each exercise consists of a series of four chords in block harmony. Indicate the analysis of each of the four chords in the blank provided. Notate each musical example as requested by your instructor. The new chord:

Ý ² ² ÐÐÐÐ Em: vii°7

Unit 11

167

ben01366_un11.qxd

6/8/09

4:28 PM

Page 168

Numbers 1–15 contain root-position chords only: 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

12.

13.

14.

15.

Š

! Ý

Š

! Ý 11.–20. (R)

11.

Š

! Ý Numbers 16–25 contain inversions. 16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

Š

! Ý

Š

! Ý

168

Ear Training

ben01366_un11.qxd

6/8/09

4:28 PM

Page 169

NAME

DATE

SECTION

Harmony 11B Chords in Music Literature: vii°7 (Diminished 7th Chord) 1. Each exercise consists of four examples from music literature, which include a variety of harmonic rhythms and nonharmonic tones. 2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another.

!

B. − A.π − π π π π C.−− ππ π π π D.−− ππ − − π π π Š π ππ ² π ππ ²π π π π ² ππ π π π π π π π π π π π Ý −− ² π π π −− π π π ² π −− ² π π π −− vii°7 i

V

vii°43 i6

i6

ii°6 V

vii°7 i

ii°6

i64

π π ²π ππ ππ π π

vii°43 i6

i64

V

3. Your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and same inversions as one of the four models above. 4. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below, and prepare for the next example from music literature. 1.

2.

3.

4.

5. When the first four examples are completed, use the same procedure for models E–H. These (E, F, G, H) are the remaining four models. Pair them up with the examples from literature (5, 6, 7, 8).

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

E.

!

G.

F.

− − π Š − ππ ππ ππ ππ − π π ππ π ²π π Ý −− ² ππ ππ ² ππ ππ −− ² π π π vii°43 i6 vii°43 i6 5. (R)

6. (R)

vii°7 i

V

7. (R)

H. ² − π π π π π π − π π π π π ²π π ππ ² π π π π ππ ππ − π π π π − i

iii

IV viik 7 i

V7

π ππ ²π ππ π π

i64 vii°43 i6

8. (R)

Unit 11

169

ben01366_un11.qxd

6/8/09

4:28 PM

Page 170

Harmony 11C Aural Analysis: Aspects of Two-Phrase Excerpts PARALLEL PHRASES

CONTRASTING PHRASES ALBERTI BASS

Two phrases having exactly similar beginnings and standings in the questionand-answer, or antecedent-and-consequent relationship, to form a complete period (first phrase ending on a half cadence, second phrase ending with an authentic cadence). Modified parallel phrases have somewhat less exact similarity in their beginnings. Two phrases also exhibiting a question-and-answer relationship, but dissimilar in their beginnings. Stereotyped, broken-chord accompaniment figures in the left-hand parts of eighteenth-century keyboard music.

Each exercise consists of two phrases from a Haydn piano sonata containing parallel phrases, contrasting phrases, or Alberti bass. 1. Listen carefully three or four times to each excerpt and then circle the letter of all true statements. The instructor now plays number 1. (R) a. b. c. d. e. f. g. h. i. j. k. l. m. n. o.

The first phrase begins with tonic harmony while the second begins with dominant harmony. The two phrases are of contrasting type. A five-tone rhythmic motive is heard twice in each phrase. The two phrases are in modified parallel construction. Both phrases contain imitation. Both phrases contain only tonic and dominant harmony. Both phrases are homophonic. The first phrase has a prominent 7–6 suspension. The second phrase has a prominent 4–3 suspension. The last phrase ends with tonic harmony. Both phrases have the same cadence types. Both phrases have the same rhythm. The second phrase is a repetition of the first with the mode changed. The second phrase contains a sequence. The second phrase contains an extension.

The instructor now plays number 2. 2. Circle the letter of all true statements. a. b. c. d. e. f. g. h. i. j.

170

The basic harmony is tonic and dominant only. The basic harmony is tonic, supertonic, and dominant only. The basic harmony is subdominant and dominant only. The basic harmony is tonic and subdominant only. The basic harmony is tonic, supertonic, subdominant, and dominant only. The texture is polyphonic. The excerpt contains a change of mode. The excerpt contains an Alberti bass figure. The second phrase contains an extension. The most prominent nonharmonic device is the suspension.

Ear Training

ben01366_un11.qxd

6/8/09

4:28 PM

Page 171

NAME

DATE

SECTION

3. Circle the letter (a–e) that indicates the correct harmonic rhythm. Each “X” indicates the beginning of a different harmony (the rhythm of the melody is reproduced for convenience).

¹ ¹ π π π ππππππ ππππππ π ¹  4/ π π π π π π π π π a. b. c. d. e.

1 X X X X X

2

3

2

X X

2

3

3 X X X X X

2

3

4 X X X

2

3

5 X X X X X

2

3

6 X

2

3

X X

X

X

7 X X X X X

2

3

X X

X

8 X X X X X

2

3

The instructor now plays number 3. (R) 4. Circle the letter of all true statements. The basic harmony in this excerpt is: a. Tonic and subdominant only. b. Tonic, subdominant, and dominant only. c. Tonic, supertonic, and dominant only. d. Tonic and dominant only. e. Tonic, supertonic, subdominant, and dominant only. 5. Circle the true statements regarding the excerpt (assuming two phrases): a. The most prominent nonharmonic tone is the suspension. b. The texture is polyphonic. c. The second phrase contains an extension. d. The first phrase is a sequence made up of two legs. e. The excerpt contains a change of mode. f. The harmonic rhythm is fast, consisting of at least ten changes per phrase. g. The phrases are in modified repeated relationship. h. The first phrase emphasizes tonic harmony while the second contrasts both subdominant and dominant harmony. i. The same type of cadence punctuates both phrases. j. A prominent false sequence appears in both phrases.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

The instructor now plays number 4. (R) 6. Circle the letter of all true statements. The basic chords in this excerpt are: a. Tonic, subdominant, and dominant only. b. Tonic and subdominant only. c. Tonic, supertonic, and dominant only. d. Tonic and dominant only. e. Tonic, submediant, and dominant only. 7. Assuming two phrases, the two cadences are (in order of appearance): a. Half and authentic. b. Authentic and authentic. c. Authentic and half. d. Half and half. e. Plagal and authentic. 8. Assuming two phrases, the relationship between the two could be construed logically in two ways: a. Either modified repeated or parallel. b. Either contrasting or parallel. c. Either exact repeated or parallel. d. Either exact or modified repeated. e. Either contrasting or modified repeated.

Unit 11

171

ben01366_un11.qxd

6/8/09

4:28 PM

Page 172

Harmony 11D Harmonic Dictation: Chorale Phrases That Modulate Each exercise consists of a chorale phrase. Numbers

Number of Chords

1–9 10–13

5 7–9

Position

Nonharmonic Tones

Root position only Root position and inversions

Occasional passing tone Several—any type

For numbers 1–9 (practice outside of class): 1. Identifying modulations is not easy and requires some long-range thinking. Numbers 1–9 afford an ideal introduction because in each phrase: Chord Number 1 1–3 5 4–5

Function Is always tonic in the original key Always establishes the original key Is always tonic in the new key Always forms a cadence in the new key

This narrows the possibilities and gives you an opportunity to concentrate on the modulation itself. The following procedure is recommended: 2. 3. 4. 5. 6. 7. 8. 9.

Practice recognition of inversions in numbers 10–13. Listen to all five chords. Compare the first and last chords. Remember that both are tonic chords—original and new. Sing only the roots of the two chords—first, then second.You can tell the relationship of the two by the interval formed. When you have figured out the new key, analyzing the five chords is considerably simplified. Indicate the roman numeral analysis of each triad. List any nonharmonic tones beneath the harmonic analysis. If the instructor requests it, give the melodic line of both the soprano and bass voices. If the instructor requests it, give the melodic line of both the alto and tenor voices. 1.–9. (R) 1.

2.

3.

π Š{ π

² { π

−{ π

Ý { ππ

π ²{ π

ππ −{

Em:

FM: I

! CM: I 4.

i

5.

6.

− Š− { π

²² π { π

−−− { π

π Ý −− { π

π ²² { π

π −−− { π

Bm: i

E −M: I

! Gm:

172

i

Ear Training

ben01366_un11.qxd

6/8/09

4:28 PM

Page 173

NAME

DATE

7.

SECTION

8.

9.

Š { ππ

²²² {

Ý{ π

²²² { π

²{ π

AM: I

GM: I

² { ππ

ππ

! Am:

i

10.

!

11.

²²² π Š {

²

π Ý ²²² { π π

π ²{ π π

{ ππ UPT

UPT AM: V

GM: V6

! 12.

! 13.

Š /0 ππ

²

Ý / ππ 0

²{ π

{ ππ

! CM: I

Em:

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

!

i

!

Harmony 11E Chord Quality Identification: MM, Mm, mm, dm, and dd 7th Chords Each exercise consists of a single 7th chord. 1. In the blanks, write the abbreviation for the type of 7th chord played. MM

=

MAJOR TRIAD AND MAJOR 7TH

Mm

=

MAJOR TRIAD AND MINOR 7TH

mm

=

MINOR TRIAD AND MINOR 7TH

dm

=

DIMINISHED TRIAD AND MINOR 7TH

dd

=

DIMINISHED TRIAD AND DIMINISHED 7TH

Unit 11

173

ben01366_un11.qxd

6/8/09

4:28 PM

Page 174

2. In numbers 1–20, all 7th chords are in root position and the 7th is in the soprano (highest-sounding) voice. 16.–30. (R) 1.

6.

11.

16.

2.

7.

12.

17.

3.

8.

13.

18.

4.

9.

14.

19.

5.

10.

15.

20.

3. In numbers 21–30, the 7th chords are all in root position, but the 7th may be in any voice (except the bass, of course). 21.

24.

27.

22.

25.

28.

23.

26.

29.

30.

Rhythm 11A Rhythmic Dictation: The Quartolet Each exercise consists of a short rhythmic excerpt. Many, but not all, of these exercises contain quartolets, rhythmic groupings of four normally given to groupings of three. Complete the rhythm on a neutral pitch. 1.

42 π π π 2.

45 π π π 3.

-. -2 π π π π 4.

02 ¼

174

¼

π

Ear Training

ben01366_un11.qxd

6/8/09

4:28 PM

Page 175

NAME

DATE

SECTION

5. (R)

/0 π 6. (R)

.0 π 7. (R)

4/ π 8. (R)

-22 π π π Rhythm 11B Error Detection: More Difficult Rhythmic Errors Each exercise consists of a short melody with one rhythmic error. Circle the number indicating the beat that differs rhythmically from what is written. 1.

2.

.0 π π π π ý π π π π π π π π π ý π 42 π π π π ý π π π π π π π π π ý π ý  4 Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1

2

3

4

5

6

1

2

3

4

5

6

11

12

3.

00 π π π π π π π π π π π π π π π π π π π π ý π Ð 1

2

3

4

5

6

7

8

9

10

4.

-.4 π ý π π π ý π π π π ý π π π π π π π π π ý π π π π π Ð ý  1

2

3

4

5

6

7

8

9 10 11 12

5.

/0 ¹ π π π ý π π 1

3

2

3

¹ π π πý π π 4

3

5

6

¹ π π π π  7

8

9

Unit 11

175

ben01366_un11.qxd

6/8/09

4:28 PM

Page 176

6. (R)

ý ý ý ý 45 π π π π π π π π π π π π π π π π π π π π π π π π 1

2

3

4

5

6

7

8

9

7. (R)

ý 02 ð 1

π π π π

πý π π ¼ ¼ π 

π π π π π π π π ð

2

3

5

4

6

8. (R)

ý ý ý ¾ -. -2 π π π π π π π π π π π π π π π π π π π π π π π π π π π π π π π π 1

2

3

4

5

6

7

8

9

10

11 12

9. (R)

00 π π π π π π π π π 1

2

3

4

π π πππππππππ π πππππππð 5

6

7

93

8

10. (R)

.0 π π π π π π π π 1

2

3 3

4

π ý ππππ 5

3

6

Transcription 11 Refer to instructions found in Transcription 1 (page 14). Recorded Example 31 in G minor Notate the entire musical selection that is played in this example.

−− / π Š 0

π

Ý −− / ð ý 0

ðð

!

176

Ear Training

10

11

12

ben01366_un11.qxd

6/8/09

4:28 PM

Page 177

NAME

DATE

SECTION

− Š−

! Ý −− − Š−

ðð ýý   ðý

Ý −−

 

! − Š−

! Ý −−

¼

− Š−

ðð ýý  ðý

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

! Ý −−



¼

Recorded Example 32: Chord progression using vii°7/V and nondominant diminished 7th chords in the key of C major. After the two-measure “count off,” measures 1–16 of the following example are played twice. This is followed by the two-measure “tag” at the end. Write the chord symbol of each chord above the staff on the beat where it first occurs. Write each chord’s roman numeral and inversion below the staff. Note: This exercise introduces chords practiced in later chapters.

Š{π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & & Unit 11

177

ben01366_un11.qxd

6/8/09

4:28 PM

Page 178

5

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & & 

& & & &

& & & &

9

13

17

Recorded Example 33: Chord progression plus melody using vii°7 chords in the key of G minor. After the two-measure “count off,” measures 1–16 of the following example are played twice, once without the melody and once with the melody. Write the chord symbol of each chord above the staff on the beat where it first occurs. Write each chord’s roman numeral and inversion below the staff. Write the melody on the staff.

− Š− { π ¼ π ¼

π π π π

1

− Š− 5

− Š− 9

− Š− 13

− Š−

178

Ear Training



ben01366_un12.qxd

6/8/09

4:29 PM

Page 179

NAME

DATE

SECTION

Unit 12 Melody 12A Melodic Dictation: Modulations to Closely Related Keys Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before. Sample Melody 1

Š /0 π π π ð

π π π ²π ð ý

π ππππππ ð

Sample Melody 2

π

ππ ð

ý πí

¦

π π π ý π ý

ππππ ππππ

Sample Melody 3 πí ý ² Ý{

πππ

²² 5 Š 4 πý πý π π πý πý π π π πý πý π

ð

π ππππ

π

Each exercise consists of a melodic excerpt that modulates to a closely related key. Complete the melody on the staff in notation.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1.

²² / Š 0π 2.

Ý −− − 0 π − 0

ð

π

π

3.

² Š 42 π 4.

Ý ²²² 5 π ý 4

π πý 179

ben01366_un12.qxd

6/8/09

4:29 PM

Page 180

5.

Š .0 π π

π

6. (R)

Ý ²²²² / π 0

π

7. (R)

− Š − − ./ π π

ð

8. (R)

Ý ²² 2 π 4

π

9. (R)

πý Š -.4 π ý 10. (R)

Ý −− 0 π ý 0

πý

(R) means recorded.

Melody 12B Error Detection: Two-Voice Compositions Each exercise consists of a short excerpt from compositions by Baroque period composers, J.S. Bach and G.P. Telemann. Each excerpt contains three printing pitch errors. The notes of each composition are numbered. Circle the numbers representing incorrect pitches (as played). The first note of each voice in all exercises is correct.

1. 2. 3. 4. 1.

π ¹ ¹ π π π π ² π  ¾ ¹ π ²/ ¹ π π π π π ² π ππ  Š 0 πππ ππ πππ ππ

!

1 2 3

ݲ/ π 0 26

180

Ear Training

4 5 6 7 8 9

10 11 12 13 14 15 16 17 18

19 20 21 22 23 24 25

π

π

π

π

π

π

π

π ¾ ¹ 

27

28

29

30

31

32

33

34

ben01366_un12.qxd

6/8/09

4:29 PM

Page 181

NAME

DATE

SECTION

2.

² ý Š -. -2 ¼

!

ππππππ π π π ¹ý

πππππ π π¾¾ 

1 2 3 4 5 6

10 11 12 13 14 15

7 8 9

16

Ý ² -. π π π π π π π π π π π π π π π Š -2 π π π ¦ π π π π π π πý 17 18 19 20 21 22 23 24 25 26 27 28

29 30 31

32 33 34 35 36 37 38 39 40

41

3.

Š /0 π

π

ð

π

ð

ð

π

ðý

1

2

3

4

5

6

7

8

!

¹ π π π π π ¹ ²π π π π ²π π ¹ π ²π π π π π π ²π π ð π π

Ý/¼ 0

9 10 11 12 13 14

1516 17 18 19 20

4.

1

2 3 4

5 6

7

8 9 10

11

12 13 14 15 16 17 18 19 20 21

π

π π πý π π πý π π πý π π π  

26

27 28

ݲ2 4

29

27 28 2930 31

π π π π π π π π π π π ²π ý ²π π π ý

² 2 πý π π πý π π πý π π πý Š 4

!

21 22 23 24 25 26

30 31 32 33 34 35

36 37 38

22 23 24 25

πý

ππ

π

πý π

39

40 41

42

43 44

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

5.

² π ππππ ππ π π π π π π π π π π π π π π π π π π π π π π π Š { π

!

123456

78

9 10 11

12 13 14

πý Ý ²{ π πππππ π π π π π 30 31 32 3334 35 36 37 38 39 40

15 16 17 18 19 20 21 22

23 24 25 26

27 28 29

²π π  Š ¹  π ππ π π π π πý πππ 41 42

43 44 45 46 4748 49 50 51 52 53

Unit 12

181

ben01366_un12.qxd

6/8/09

4:29 PM

Page 182

π π Ý { ¼ ¹ π −π π π π ¦ π ² π π π π π π π π π 

6.

1 2 3 4

!

5 6

8 9 10 11 12 13

25

26

27

28

14 15 16 17

18

19

20 21

π 22

π π π π ¹ π π π π π π ²π ²π π π π π π π 

π π π π

Ý{ππ π 23 24

7

¦π π π π

30 3132 33 3435 3637 38 39 40 41 4243444546 47

29

Melody 12C Binary, Rounded Binary, and Three-Part Form Each exercise consists of a complete composition in binary, rounded binary, or three-part form. Rounded binary lacks a truly distinct and independent B section and thus is distinguished from three-part form. The measure numbers for each composition are given. The instructor will provide the beat duration so that you can follow the composition from the given numbers. Indicate: 1. the phrases by bracketing the numbers (The first phrase of each composition is correctly bracketed for you.) 2. the phrase relationships:

3. 4. 5. 6.

A

=

the first phrase of each composition or any other like it.

A

=

any other phrase that is a modified repetition of “A.”

AP

=

a phrase that stands in parallel relationship to “A.”

B

=

a contrasting phrase to “A.”

B

=

any other phrase that is a modified repetition of “B.”

the type of cadence at the end of each phrase. the key of each cadence. any melodic sequences or repetitions (These are also given for the first phrase of each composition.) the overall form of the composition.

1. 42 meter with upbeat. (R)

Measures:

Phrase A 2 3

1

13

14

15

4 No harmonic cadence

5

6

7

8

9

10

11

12

16

17

18

19

20

21

22

23

24

Overall Form: _____________________________________

182

Ear Training

ben01366_un12.qxd

6/8/09

4:29 PM

Page 183

NAME

DATE

SECTION

2. 44 meter. (R)

Measures:

Phrase A 2 3

1

13

14

4 Half C Major

5

6

7

8

9

10

11

12

16

17

18

19

20

21

22

23

24

15

Overall Form: _____________________________________

3. 34 meter. (R)

Measures:

Phrase A 2

1

3

4 Authentic A Major

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

31

32

33

34

35

36

37

38

39

40

41

42

43

44

45

46

47

48

49

50

51

52

53

54

55

56

57

58

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Overall Form: _____________________________________

4. 34 meter. (R)

Measures:

1 Rep

Phrase A 2 Rep

3

4 Authentic C Major

5

6

7

8

9

10

19

20

11

12

13

14

15

16

17

18

21

22

23

24

25

26

27

28

Overall Form: _____________________________________

Unit 12

183

ben01366_un12.qxd

6/8/09

4:29 PM

Page 184

Melody 12D Interval Dictation: Two Intervals in Succession Each exercise consists of three tones played melodically without relating them to a scale or key center. The first note is given. Write the two remaining notes on the staff. 1.

2.

ŠÐ 8.

3.

4.

5.

−Ð

−Ð

6.

Ð

Ð 9.

7.

−Ð

10.

11.

12.

13.

−Ð 14.

−Ð Ý ²Ð

²Ð Ð

15. (R)

16. (R)

Ý ²Ð

−Ð

17. (R)

Ð

Ð

18. (R)

19. (R)

20. (R)

²Ð

−Ð

šÐ

23. (R)

24. (R)

−Ð

21. (R)

²Ð

−Ð ²Ð

22. (R)

−Ð

25. (R)

26. (R)

²Ð

²Ð

27. (R)

²Ð

Ð

28. (R)

−Ð

Melody 12E Models and Embellishments: I-V-I Progression with Melodic Embellishments 1. The model in this section is a I-V-I progression using four voices. The upper three voices are always in close position. Sing all parts of this structure before class. 2. Your instructor will play the structure followed by embellishments of that structure. 3. Write the model’s embellishments on the numbered staves provided. Model:

Embellishments: 1.

$ Š 00 ÐÐÐ

ÐÐ Ð

ÐÐ Ð

00

Ý0Ð % 0

Ð

Ð

00

184

Ear Training

ben01366_un12.qxd

6/8/09

4:29 PM

Page 185

NAME

$

DATE

2.

3.

Š 00

00

Ý0 % 0

00

$

4.

5.

Š 00

-.4

Ý0 % 0

-.4

$

SECTION

6.

Š -.4 Ý -. % 4 Harmony 12A Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Chord Function Identification: Nondominant 7th Chords Each exercise consists of a series of four chords in block harmony. Indicate the analysis of the four chords in the blanks provided. Notate each musical example as requested by your instructor. Numbers 1–15 are in root position only:

Ý −− ÐÐÐÐ

ÐÐÐ Ð

ÐÐÐ Ð

ÐÐÐ Ð

ÐÐÐ Ð

B − Major: I7

ii7

iii7

IV7

vi7

Unit 12

185

ben01366_un12.qxd

6/8/09

4:29 PM

Page 186

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

12.

13.

14.

15.

Š

! Ý

Š

! Ý 11.–20. (R) 11.

Š

! Ý Numbers 16–25 contain inversions:

Ý −− ÐÐÐÐ

ÐÐÐÐ

ÐÐÐÐ

B − Major: I7

I65

I43

Ý −− ÐÐÐ ÐÐÐÐ Ð iii43

iii42

16.

Š

! Ý

186

Ear Training

ÐÐÐ Ð IV7

17.

Ð ÐÐÐ I42

ÐÐÐ Ð

ÐÐÐÐ

ÐÐÐ ÐÐÐÐ Ð

ii7

ii65

ii43

ÐÐÐÐ ÐÐÐÐ IV65

IV43 18.

Ð ÐÐÐ IV42

ii42

ÐÐÐ Ð

ÐÐÐÐ

iii7

iii65

ÐÐÐ Ð

ÐÐÐÐ

ÐÐÐÐ

Ð ÐÐÐ

vi7

vi65

vi43

vi42

19.

20.

ben01366_un12.qxd

6/8/09

4:29 PM

Page 187

NAME

DATE

21.

22.

SECTION

23.

24.

25.

Š

! Ý

Harmony 12B Chords in Music Literature: Nondominant 7th Chords 1. Each exercise consists of four examples from music literature, which include a variety of harmonic rhythms and nonharmonic tones. 2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another.

!

−− −A.π π π ¦ π B.¦¦¦ π π π π C.¦¦¦ π π Š π π π π π π π π CM CM Cm Ý −− ππ π π 𠦦 π π π 𠦦 ππ − π π ¦ π π ¦ III7 VI7 iik 7 V

V7

I

vi7

I6

ii

ππ ππ ππ D.¦¦¦ ππ ππ ππ ππ CM

ππ π π ¦ π π π π 𠦦 π π ii65

V

I

vi7 ii7 V7

I

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

3. Your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and same inversions as one of the four models above. 4. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below, and prepare for the next example from music literature. 1.

2.

3.

4.

5. When the first four examples are completed, use the same procedure for models E–H. These (E, F, G, H) are the remaining four models. Pair them up with the examples from literature (5, 6, 7, 8).

!

−− E.π π π π F.−−− π − Š π π π π π π Cm π π π π Cm π π Ý −− π − π π π −−− π π i42 IV7 ii°43 i64

5. (R)

6. (R)

H. ¦¦ −− ¦ − π ππ π ππ ¦ π π π π π ππ Cm CM ¦ π π ¦ π π π π − ππ π π π π 𠦦 π π π π −− π π π

VI7 iik 65 V7

7. (R)

G.

i

vi7 ii7 V7 I7

III7 VI7 iik 7 V

8. (R)

Unit 12

187

ben01366_un12.qxd

6/8/09

4:29 PM

Page 188

Harmony 12C Aural Analysis: Harmonic and Melodic Relationships in Musical Periods from Haydn Sonatas Each exercise consists of a period (two phrases) extracted from a Haydn piano sonata. Using the measure and beat numbers provided, complete the following: 1. Bracket the harmonic rhythm beneath the numbers. 2. Under each bracket indicate the chord analysis. The instructor will indicate which of the following is preferred: a. Write only the basic chords—it is not necessary to show inversions. b. Write the basic chords and include the proper inversion. Use the lowest-sounding tone within each bracket in determining the position of the chord. 3. Bracket the phrases above the numbers. 4. At the end of each phrase bracket, indicate the type of cadence. 1. 34 meter with upbeat. Large numbers denote the first beat of the measure. BEATS:

1

2

3

4

5

6

7

8

9

10

11

14

15

16

17

18

19

20

21

22

23

24

12

13

13

2. 38 meter with upbeat. Large numbers denote the first beat of the measure. BEATS:

1

2

3

4

5

6

7

8

9

10

11

12

14

15

16

17

18

19

20

21

22

23

24

25

10

11

12

3.–6. (R) 3. 34 meter. Large numbers denote the first beat of the measure. BEATS:

1

2

3

4

5

6

7

8

9

14

15

16

17

18

19

20

21

22

4. 22 meter beat in 4 (with upbeat). Large numbers denote the first beat of the measure. BEATS:

188

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

22

23

24

25

26

27

28

29

30

Ear Training

19

20

21

13

ben01366_un12.qxd

6/8/09

4:29 PM

Page 189

NAME

DATE

SECTION

5. 42 meter. Large numbers denote the first beat of the measure.

1

2

3

14

15

16

BEATS:

4

5

6

7

9

8

10

11

12

13

12

6. 42 meter with upbeat. Large numbers denote the first beat of the measure. BEATS:

UP

1

2

3

4

5

6

7

8

9

10

11

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

31

32

33

34

35

36

Harmony 12D Harmonic Dictation: Modulations to Closely Related Keys Each exercise consists of a phrase from a Bach chorale that modulates. The first chord and its analysis are given for each exercise. 1. 2. 3. 4.

Indicate the analysis of each chord beneath the lower staff. List any nonharmonic tones beneath the harmonic analysis. Write the melodic line of both the soprano and bass voices. Write the melodic line of both the alto and tenor voices.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1.

2.

²

²

Š { ππ

{ ππ

ݲ{ π

²{ π π

! UPT GM: I

GM: I

!

!

Unit 12

189

ben01366_un12.qxd

6/8/09

4:29 PM

Page 190

² 3.πUPTπ Š { π

4.

¦/ π 0 π

! ¦/ π 0

ݲ{ π GM: I

Am:

i

!

!

5.

6.

− { ππ

Š{ π

!

UPT

Ý { ππ

ππ −{

CM: I

FM: I

!

!

7.–8. (R) 7.

8.

² Š { π

¦ −− 0 π 0 π

π π

π ¦ −− 0 0

GM: I

B −M: I

! ݲ{

!

Harmony 12E Chord Quality Identification: MM, Mm, mm, dm, and dd 7th Chords Each exercise consists of a single 7th chord played in four-part harmony. Only MM, Mm, mm, dm, and dd 7th chords are used. In the blanks, indicate the type of 7th chord played.

190

Ear Training

!

ben01366_un12.qxd

6/8/09

4:29 PM

Page 191

NAME

DATE

SECTION

In numbers 1–10, all chords are in root position and the 7th is in the soprano voice. 1.

6.

2.

7.

3.

8.

4.

9.

5.

10.

In numbers 11–20, all chords are in root position, but the 7th may be in any voice except the bass. 16.–20. (R) 11.

16.

12.

17.

13.

18.

14.

19.

15.

20.

In numbers 21–30, the chords may be in any position and the 7th in any voice.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

21.–30. (R) 21.

26.

22.

27.

23.

28.

24.

29.

25.

30.

Rhythm 12A Rhythmic Dictation: Eighth-Beat Values Each exercise consists of a short melodic excerpt.

Unit 12

191

ben01366_un12.qxd

6/8/09

4:29 PM

Page 192

Complete the rhythm on a neutral pitch. 1.

00 π ýý 2.

00 ð 3.

00 ¾ 4.

00 π 5. (R)

00 π ýý 6. (R)

.0 π 7. (R)

{π

π π

8. (R)

¹

{¼ 9. (R)

00 ¼ 10. (R)

.. π ý 192

Ear Training

ben01366_un12.qxd

6/8/09

4:29 PM

Page 193

NAME

DATE

SECTION

Rhythm 12B Error Detection: Eighth-Beat Values Each exercise consists of a short melodic excerpt containing a single rhythmic error. Circle the number indicating the point at which the printed version does not agree with that played. 1.

2.

.0 π ý π π π π π π πππ π π π π π π π 42 π π π π π ý π π π π π π π π π π π π ý  1

2

3

4

5

6

1

3.

2

3

4

5

6

4.

¹ ¹ ¹ ¹¹ ý ý ý 45 π π π π π π π π π π π π π π π π .. π π π π π π π πππππ π π π ð 1 2

3

4

5

6

7

8

9

1

2

3

4

5

6

5.

00 π πππππ π π π π π π π 1

2

3

4

π ý ππ ý ππ π π π π πππ π π π π π ð 5

6

7

8

9

10

11

12

6.

./ ð 1

πý π π π π π π ð 

π π π πππππ ð

ð

ð

2

5

8

9

3

4

6

7

7.

-.4 π π π π π π π π π π π π π π π π π ý π π π π π π ý π π π π π ý π π π ý π ý  1

2

3

4

5

6

7

8

9

10

11 12

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

8.

.0 π π π π π π π π ý π π ý π π π π π π π π π ý 1 3

2

3

4

5

6

Transcription 12 Refer to instructions found in Transcription 1 (page 14). Recorded Example 34 in F major

Unit 12

193

ben01366_un12.qxd

6/8/09

4:29 PM

Page 194

Notate the entire musical selection that is played in this example.

Š − 42 π

ðπ ý

¼

! Ý−2 ¹ 4 Š−

πð ý

¹

¼

! Ý− Š −

¼

! Ý − Š−

¹

¹

! πý

Ý−

π ¹ 

Recorded Example 35: Chord progression using diatonic 7th chords in the key of D major. After the two-measure “count off,” measures 1–16 of the following example are played twice. This is followed by the two-measure “tag” at the end. Write the chord symbol of each chord above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff.

² Š ² {π ¼ π ¼

π π π π

1

& & & & 194

Ear Training

& & & &

& & & &

& & & &

ben01366_un12.qxd

6/8/09

4:29 PM

Page 195

NAME

DATE

SECTION

5

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & & 

& & & &

& & & &

9

13

17

Recorded Example 36: “Blues changes” using 7th chords in the key of C major. After the two-measure “count off,” measures 1–12 of the following example are played twice. This is followed by the two-measure “tag” at the end. Write the chord symbol of each chord above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff. These “shuffle” rhythms are commonly notated as dotted eighths and sixteenths.

Ý{π ¼ π ¼

π π π π

1

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Ý

πý π 5

Ý 9

Ý



13

Ý

Unit 12

195

ben01366_un12.qxd

6/8/09

4:29 PM

Page 196

ben01366_un13.qxd

6/8/09

4:29 PM

Page 197

NAME

DATE

SECTION

Unit 13 Melody 13A Melodic Dictation: Modulation in Two-Phrase Periods Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before. Sample Melody 1

Š /0 π π Šπ

 ý ¹ π ππ

¹ý ππ

π ¹ π ¹ ¼ π ¹ π ¹ ¼ π ¹  ¹ ¹ π π π π ¹ π ¹ ¼

πí ¹ π ¹ ¼ í

  ²π ¹ π ¹ ¹

Sample Melody 2

πí π ¦π −π ý

π π ¦π π π π

πý π π π

π π ²π ¦π ý

π π π π π ¦π

ð

− Š − − /0 π π π ý

¼

Sample Melody 3

π

πí

ý

²

¦

π π π π π π π π π

π

π

ý

π

πππππ

Ý ²²

πí

π π

Ý ²² / π π 4 í

π π π π π π

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

− Š − − π π πý

²

²

π

Each exercise consists of a melody composed of two phrases. The second phrase begins immediately after the l l, marked in each melody, and ends with a modulation.

197

ben01366_un13.qxd

6/8/09

4:29 PM

Page 198

Notate each melody on the appropriate staff below. 1.

²²² /AM Š 0π

ð

2.

²²² . AM Š 0 π

3.

π

FM

Š − /0 π π 4.

ππ

FM

Š − /0

π

π

5.

− . Gm − Š 0π

π

6. (R)

²²² /AMð Š 0

ð

²²² *ð Š 7. (R)

−− −− /B −πmý π Š −0 −−− *π ý *π − Š −

198

Ear Training

πý π

ben01366_un13.qxd

6/8/09

4:29 PM

Page 199

NAME

DATE

SECTION

8. (R)

−− −− /A −πM π Š 0

π

− Š − −− π π 9. (R)

²²² .AM Š 0π

πý

²²² * π Š πý 10. (R) CM

π 

π Š 4/  π Š (R) means recorded.

Melody 13B Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Error Detection: Brahms Melodies Each exercise consists of a short melodic excerpt from compositions by Brahms containing three pitches that are played differently from those printed. Circle the three numbers representing the pitches that differ from those played.

1.

² π Š ‡ π ð ¼ π ²ð ¼ π ð ¼ ² π ð ¼ ð ¼ π ð ¼ π ð ¼ ²π ð 1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

2.

²²²² 2 ¹ ¹ Š 4 π π ² π ³ π π π π ³ π π π π ³ π π π π ³ π ¦ π π π ³ π π 1

2

3

45

6

7

8

9 10 11

12 13 14 15

16 17 18 19

20 21

Unit 13

199

ben01366_un13.qxd

6/8/09

4:29 PM

Page 200

3.

²²²² 2 Š 4 π π π ²π π π π π π π ý 1

2

3

4

5

6

7

8

4.

9 10

π π π π π π π π π π ¹ 11 12 13 14 15 16

3

3 3 3 π 3 π −− −− π ¦ π Š ‡ π¼π π ¼ π π ¦π ¦π π π ð

1

2 3 4 5

6

7 8 9 10

17 18 19 20

3

3

π π ¦π π π π π ¼ ½

11 12 13 14

15 16 17 18 19

20

5.

π π ²π π ²π π π π ² π π π π π Š{ π π ²π π π ²π π π ²π π π π 1

2

3

4

5 6

7 8 9 10

11 12 13 14 15 16 17

18 19 20 21 22 23 24

25

6.

πý π π π −− − 2 −π π π π ý −π π π π ý −π π π π π π −π ¹ ¼ Š 4 1 2 3 4

5 6 7 8

9 10 11 12

13 14 15 16 17

18

7.

−−− . π ý π π ý ¦ π π ý π π ý π ý π π ý π π ý ¦ π ý π ý π π π π ý ¾ − Š 0 π π π πý  1

2 3

4

5

6 7

8

9 10 11 12 13 14 15 16 17 18 19 20 21

8.

²² π π π Š ‡ 1

2

π π π π π ππ π π π π π π π π π π π

3

4

5

6 7 8 9

10 11 12 13 14

15 16 17 18 19 20

21

9.

² Š ²‡ π

π π ý π π π ý π π π ý π ý ²π π ý π π ¼

1

2 3

4

5 6

7

8 9

10 11

12 13

½

14

10.

²/ π π π π π π π π π π π π π π π π π π Š 0¼ ¼ ¼ 1

200

2

Ear Training

3

4

5

6

7

8

9 10 11

12 13 14

15 16 17

18

ben01366_un13.qxd

6/8/09

4:29 PM

Page 201

NAME

DATE

SECTION

Melody 13C Binary, Rounded Binary, and Three-Part Form Each exercise consists of a complete composition in binary, rounded binary (incipient three-part), or three-part form.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Listen to composition number 1 two or three times, then answer the following questions. Listen again to the composition to check your answers. (R) 1.

The form is: a. three-part b. rounded binary c. rounded three-part d. incipient two-part e. two-part

2.

This composition: a. modulates to the dominant and subdominant b. modulates to the dominant and relative minor c. modulates to the dominant only d. does not modulate e. modulates to the relative minor only

3.

The number of phrases is: a. 2 b. 6 c. 4 d. 3 e. 7

4.

Cadences represented are: a. plagal and authentic only b. authentic only c. deceptive, half, and authentic d. deceptive and authentic only e. half and authentic only

5.

A phrase with a cadential extension is: a. the last b. the first c. the second d. does not occur e. both first and last

Listen to composition number 2 and answer the following questions: (R) 6.

The form is: a. three-part b. rounded binary c. rounded three-part d. incipient two-part e. two-part

Unit 13

201

ben01366_un13.qxd

6/8/09

4:29 PM

Page 202

7.

This composition: a. modulates to the dominant only b. modulates to the relative minor only c. does not modulate d. modulates to the relative major and the dominant e. modulates to the relative major and subdominant

8.

The cadence at the end of the first phrase is: a. authentic in the relative major b. authentic in the original key c. half in the original key d. plagal in the dominant key e. half in the relative major

The instructor will play an excerpt from composition number 2. 9.

10.

This excerpt is an example of: 1. repetition 2. a series of escape tones 3. sequence 4. a succession of Mm7th chords 5. circle-of-5ths progressions

a. b. c. d. e.

1, 2, 3, and 4 3 and 4 only 1, 3, and 4 only 2, 3, 4, and 5 3, 4, and 5 only

This is an example of music from the: a. Baroque period b. Classical period c. Romantic period d. Renaissance period e. Post-Romantic period

Listen to composition number 3 and answer the following questions. (Note: The first phrase and some of the other phrases contain strong, interior cadence-like figures.) (R) 11.

The form is: a. three-part b. rounded binary c. rounded three-part d. incipient two-part e. two-part

12.

The second phrase ends with a: a. deceptive cadence b. Phrygian cadence (iv6/V) c. plagal cadence d. imperfect authentic cadence e. perfect authentic cadence

13.

This composition basically contains: a. a through-composed melody b. phrases of uneven length c. parallel phrases combining to form periods d. sequences of phrase length e. an ostinato

202

Ear Training

ben01366_un13.qxd

6/8/09

4:29 PM

Page 203

NAME

DATE

14.

Cadence types are: a. authentic, half, and plagal b. authentic only c. authentic, half, Phrygian, and deceptive d. authentic and plagal only e. authentic and Phrygian only

15.

This is an example of music from the: a. Baroque period b. Classical period c. Romantic period d. Renaissance period e. Post-Romantic period

SECTION

Melody 13D Interval Dictation: Two and Three Intervals in Succession Each exercise consists of two intervals (three tones) for exercises 1–10 and three intervals (four tones) for exercises 11–20. These short melodic segments are played without relating them to a scale or key center. 1. Indicate the tones played in each exercise. (The first note is given.) 2. Indicate the intervals produced in the blanks provided. Example 1 illustrates the correct procedure. 1. (Example)

Š Ð ²Ð Ð M2 6.

2.

3.

²Ð

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Ð

7.

8.

ŠÐ

Ð

−Ð

10.

²Ð −Ð

12.

13.

ŠÐ 16.

Ð 9.

−Ð

Ý −Ð

5.

M3

Ð

11.

4.

Ð 17.

Ð

18.

14.

²Ð 19.

15.

Ð 20.

²Ð −Ð

−Ð

Unit 13

203

ben01366_un13.qxd

6/8/09

4:29 PM

Page 204

Melody 13E Models and Embellishments: I-V-I Progression with Diatonic Melodic Embellishments 1. The model in this section is a I-V-I progression using four voices. The upper three voices are always in open position. Sing all parts of this structure before class. 2. Your instructor will play the structure followed by embellishments of that structure. 3. Write the model’s embellishments on the numbered staves provided. Model:

Embellishments 1.

$ Š 00 ÐÐ

Ð Ð

Ð Ð

00

Ý 0 ÐÐ % 0

Ð Ð

ÐÐ

00

$2. Š 00

3.

00

Ý0 % 0 $4. Š 00 Ý0 % 0 Two five-measure examples based on the same model.

$6. Š /0 Ý/ % 0

204

Ear Training

00 5.

00 00

ben01366_un13.qxd

6/8/09

4:29 PM

Page 205

NAME

DATE

SECTION

$7. Š 00 Ý0 % 0 Harmony 13A Chord Function Identification: Secondary Dominants of V and ii Each exercise consists of a series of four chords in block harmony. Analyze each of the four chords in the blanks provided. Notate each musical example as requested by your instructor. New chords:

Ý ² ÐÐÐ

² ÐÐÐÐ

− ÐÐÐ ²Ð

CM:

V7/V

vii° 7/V

V/V

² ÐÐÐ

² ÐÐÐÐ

−Ð ² ÐÐÐ

V/ii

V7/ii

vii° 7/ii

Numbers 1–15 contain chords in root position only. 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Š

! Ý

Š

! Ý

Unit 13

205

ben01366_un13.qxd

6/8/09

4:29 PM

Page 206

11.–20. (R) 11.

12.

13.

14.

15.

Š

! Ý Numbers 16–25 contain inversions. 16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

Š

! Ý

Š

! Ý

Harmony 13B Chords in Music Literature: Secondary Dominants of ii, IV, and V 1. Each exercise consists of four examples from music literature, which include a variety of harmonic rhythms and nonharmonic tones. 2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another. B.

A.

!

C.

² ² ππ π π ππ ² Š ¦ ππ π ² π ππ ππ ππ π π π π π π ² Ý² ² ² π π π V7/IV IV6 V

206

Ear Training

I

V65/ii ii

V

I

D.

π ππ π ππ ² ππ ππ ππ ππ π π π π ² ππ π π π ² π ²π π vi V65/V V7

I

V65/ii ii

V6

I

ben01366_un13.qxd

6/8/09

4:29 PM

Page 207

NAME

DATE

SECTION

3. Your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and same inversions as one of the four models above. 4. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below, and prepare for the next example from music literature. 1.

2.

3.

4.

5. When the first four examples are completed, use the same procedure for models E–H. These (E, F, G, H) are the remaining four models. Pair them up with the examples from literature (5, 6, 7, 8). E.

Š ² π ¦ π π ππ GM

!

Ý ² ππ ² ππ ¦ ππ ππ V42/ii V65/V V42 5. (R)

G.

F.

²

I6

² π π π GM ππ ππ ² ² V6/ii ii

6. (R)

H.

ππ π ² π π π π −− π ππ GM Gm ππ ππ ² ² π ππ π ππ ππ π π π −− π V6

I

7. (R)

V7/ii ii

V7

I

V/iv iv

−π ² π

π π π π i64

V7

8. (R)

Harmony 13C Aural Analysis: Key, Phrase, and Cadence Relationships in Musical Excerpts Each exercise consists of four phrases of music by Baroque-period composers.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Listen carefully three or four times to each excerpt and then answer the multiple-choice questions. Each question has only one correct answer. Circle the letter indicating the correct answer. The instructor now plays number 1. (R) Assume that this excerpt contains four phrases. It begins in B-flat major. 1.

Keys expressed in this excerpt are: a. BbM, FM, and EbM b. BbM, Cm, and FM c. BbM, EbM, only d. BbM, EbM, and FM e. BbM, FM, only

2.

The relationship of the four phrases in this excerpt is: a. A A A B b. A B A C c. A B A C d. A B A B e. A A A A

Unit 13

207

ben01366_un13.qxd

6/8/09

4:29 PM

Page 208

3.

The cadences punctuating the four phrases of this excerpt (in order of appearance): a. authentic, half, authentic, half b. half, authentic, half, authentic c. all are authentic d. authentic, authentic, half, authentic e. deceptive, authentic, half, authentic

4.

Harmony in the first phrase (in order of appearance) is: a. tonic to dominant to tonic b. tonic to subdominant to dominant to tonic c. tonic to dominant d. tonic to supertonic to dominant to tonic e. tonic to subdominant to dominant

The instructor now plays number 2. (R) Assume that this excerpt contains four phrases. The composition begins in G minor. 5.

The cadences at the end of the second and fourth phrases are (in order of appearance): a. authentic, authentic b. authentic, half c. half, authentic d. plagal, half e. half, half

6.

The phrase relationships are: a. A B B b. A B A c. A B A d. A A B e. A A A

7.

C C B C B

The excerpt begins in G minor and ends in: a. B-flat minor b. E-flat minor c. C minor d. D minor e. A minor

The instructor now plays number 3. (R) Assume this excerpt contains four phrases. It begins in F major. 8.

The keys in order of their appearance are: a. FM BbM CM FM b. FM GM BbM FM c. FM CM GM FM d. FM DM CM FM e. FM CM BbM FM

9.

The phrase relationships are: a. A A A b. A A B c. A B A d. A B A e. A B B

208

Ear Training

C A B C C

ben01366_un13.qxd

6/8/09

4:29 PM

Page 209

NAME

10.

DATE

SECTION

The cadences (punctuating the phrases) in order of appearance are: a. half, authentic, half, authentic b. all are authentic cadences c. plagal, authentic, plagal, authentic d. half, half, half, authentic e. authentic, half, half, authentic

Harmony 13D Harmonic Dictation: Chorale Phrases Containing 7th Chords Each exercise consists of a chorale phrase. Numbers

Number of Chords

1–6 7–12

4 7–8

Position

Nonharmonic Tones

Root position only Root position and inversions

Occasional passing tone Several—any type

Suggested procedure for numbers 1–6 (outside of class). As you listen to each chord try to match the pitch of the root (bass pitch)—by thinking it rather then singing it. Immediately recall the complete succession of chord roots. Associate the root pitches with solfeggio syllables or numbers and write them down. Convert the syllables or numbers to actual pitches and write out the bass notes on the staves provided. If you wish, you can also add the basic analysis symbols, but watch out for the presence of 7th chords included in this assignment. 6. If your instructor requests, in successive listenings, pick out the soprano, alto, and tenor parts. Relate each to syllables or scale numbers. 7. Convert the syllables or numbers to actual pitches and add the notes to the staves. 8. When you have completed the phrase, listen one more time to check your answers.

1. 2. 3. 4. 5.

1–6. (R)

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1.

!

2.

Š /0 ππ π Ý/ π 0 CM:

I

3.

²/ 0 π

²² / 0 π

² / ππ 0

²² / ππ 0

Em:

DM:

i

5.

4.

I

6.

Š − /0 π π

−− /0 ππ π

−− /0 π

Ý − / ππ 0

π −− /0 π

π −− / π 0

FM:

B −M: iii

Gm:

! I

i

Unit 13

209

ben01366_un13.qxd

6/8/09

4:29 PM

Page 210

8.

7.

² Š ² { ππ

−− { π π

Ý ²² { π π

−− { π

DM:

Gm:

! IV

10.

9.

²²² π Š {

!

i

−{ π π UPT

π Ý ²²² { π

π −{ π

AM:

Dm:

UPT I

12.

11.

!

i

² Š ²{ π

²²² π { π

ππ Ý ²² { π

²²² { ² ππ

Bm:

F ²m:

iv

V6

!

Harmony 13E Error Detection: Triads and 7th Chords Each exercise consists of two chords in four parts. 1. As played by the instructor, one note in each exercise is incorrect. Any voice may contain an error. 2. Indicate the chord (number 1 or number 2) containing the error. 3. Also indicate the voice where the error occurs: S = soprano A = alto T = tenor B = bass

210

Ear Training

ben01366_un13.qxd

6/8/09

4:29 PM

Page 211

NAME

DATE

SECTION

The example indicates the correct procedure. Chord: Voice:

1 B

−− 1.ππ π 2. π π 3. π π 4. π π 5. π π π π π π π π π ππ Š Ý −− ² ππ π ππ ² π π ππ π ππ ππ π

!

6.

π ππ 7. ππ π 8. π ππ 9. π π ²π ²π ²π ππ ππ π ππ ππ ππ ππ π π π π

10.

ππ ππ ππ ² π

Rhythm 13A Rhythmic Dictation: Introduction to the Supertriplet Each exercise consists of a short melodic excerpt. Complete the rhythm on a neutral pitch. A supertriplet is a triplet that exceeds the length of a single beat. 1.

2.

/0 π

/0 π 4. (R)

3.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

00 π π π 5. (R)

/0 π

00 π 6. (R)

./ ð 3

7. (R)

.0 π ý ππ π

8. (R)

00 π π π π

9. (R)

/0 π π π π π π Unit 13

211

ben01366_un13.qxd

6/8/09

4:29 PM

Page 212

10. (R)

00 π π π π π ý π π π π π π 11. (R)

00 π

ππππππππ

Rhythm 13B Error Detection: Eighth-Beat Values Each exercise consists of a melodic excerpt containing one error in rhythm. Circle the number indicating the beat that is not played as notated. 1.

ý ý ý ý 45 π π π π π π π π π π π ý π π π π π π π π π π π π 1

2

3

4

5

6

7

8

9

2.

¾ ¾ ¾ ý ý -. -2 π π π π π π π π π π π π π π π π π π π π π π π π π 1

2

3

4

5

6

7

8

9 10 11 12

3.

00 ¹ π π π π π π π π π π π ¹ π π π π π π π π π π 1

2

3

4

5

6

7

8

4.

.0 ¼ 1

π π

π π π π π π

π π π π π

ð

2

3

5

7

4

6

8

5.–8. (R) 5.

./ π π 1

ð

πý π πý π ð  

π π π π π π

Ð

2

3

6

8

4

5

7

9

6.

00 π π 1

212

πý π π π π π π π π π π π π π π π π π π 2

Ear Training

3

4

5

6

7

8

ben01366_un13.qxd

6/8/09

4:29 PM

Page 213

NAME

DATE

SECTION

7.

πý 

4. π π 1

2

π  3

π π π π

π π π π π π π 

4

6

5

7

8

8.

¾ ý ý 45 π π π π π π π π π π π π π π π π π π π π ð 1

2

3

4

5

6

7

πý 8

9

Transcription 13 Refer to instructions found in Transcription 1 (page 14). Recorded Example 37 in D minor Notate the entire musical selection that is played in this example.

Š /0 π ð

! Ý/¼ 0

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Š

¹ ππ

¹

¼

¼

¹

¼

! Ý ¼

Š

¹

¼

¼

¼ 

! Ý



Unit 13

213

ben01366_un13.qxd

6/8/09

4:29 PM

Page 214

Š¼

! Ý

¹

Š

¼

! Ý

Š

¼

! Ý

Š

! Ý

Š

¼

! Ý

214

Ear Training

ben01366_un13.qxd

6/8/09

4:29 PM

Page 215

NAME

DATE

SECTION

Š

! Ý Recorded Example 38: Chord progression using secondary dominants of V and ii in the key of G major. After the two-measure “count off,” measures 1–16 of the following example are played twice. This is followed by the two-measure “tag” at the end. Write the chord symbol of each chord above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff. Do not regard “vamping” in the bass with the root and fifth of a chord as a change of inversion.

² Š {π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & & 

& & & &

& & & &

5

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

9

13

17

Unit 13

215

ben01366_un13.qxd

6/8/09

4:29 PM

Page 216

Recorded Example 39: Chord progression with two trumpet parts using the secondary dominant of V in the key of C major. The two-measure “count off” is played as a piano “vamp” in this example. Afterward, measures 1–18 are played once. The last phrase is extended, producing two “extra bars.” Two trumpet parts play the lead in this piece. Write the chord symbol of each chord above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff. Write the two trumpet parts on the staff.

ππ ππ ππ ππ ππ ππ ππ Ý{π π π π π π πππ 1

Š 5

Š 9

Š 13

Š 17

Š

216

Ear Training

ben01366_un14.qxd

6/8/09

4:30 PM

Page 217

NAME

DATE

SECTION

Unit 14 Melody 14A Melodic Dictation: Modulation in Two-Phrase Melodies Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before. Sample Melody 1

²² / Š 0 π π π π π π π π π π π ¼ π ²π π π π π π ð π π ¼ Sample Melody 2

− Š − /0 π π π π π π π π π π π π π π π π π π π π ¦π π π π π ¦π π π π π π ¹ ¼ Sample Melody 3

Ý −− / π π π π ¦π π π π π π π π π π π π π π π π π ð ¼ −0 Each exercise consists of a melody composed of two phrases. The second phrase begins immediately after the , marked in each melody. A variety of phrase, key, and cadential relationships exists in these examples from music literature. Notate each melody on the appropriate staff below.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1.

FM

Š − .0 π 2.

CM

π Š /0

π  π

3.

²²²AM/ π Š 0

4.

π

Am

Ý/ 0π

π 217

ben01366_un14.qxd

6/8/09

4:30 PM

Page 218

5.

²² /DM Š 0 π ýπ

π ýπ

6. (R)

Gm −− . π ý π π Š 0

πýπ π

7. (R) GM

².  Š 0π

π 

8. (R) Am

Em

π

Š − .0 π 9. (R) CM

π

Š /0 π 10. (R) Em

ππ

²  Š .0 π (R) means recorded.

Melody 14B Error Detection: Excerpts from Music Literature Each exercise consists of a short melodic excerpt from music literature containing three pitches that are played differently from those printed. Circle the numbers representing the pitches that are different from those played. There are three printing errors in each melody. 1.

² Š ²{

π π ý π π ý π π π π ý π π ý π π ²π π ý π π ý ππ π π π π π π π π π 1

2

34 5

6

7

8 9 10 11 12

13 14 15 16 17 18 19 20 21 22 23

24

2.

 π Š .0 π π 1

218

2

3

Ear Training

π π π π π π π π π π π π π π π ¹ ¹ 4

5

6

7

8

9

10 11

12 13

14 15 16

17

ben01366_un14.qxd

6/8/09

4:30 PM

Page 219

NAME

DATE

SECTION

3.

π ¹ −π π ¹ ¦ π −π ¹ π π ¹ π ðý π −/ π π π π π π − Š 0 ¦π π π π ¦π π π ¼  ¼  ¼  ¼  12

34 5678

9 10 11 12 13 14 15

16 17

18 19

20 21

22 23

4.

Š 00

ð π ý ²π ²ð ð ²ð π ý π ð ²ð ð ²π ý π ð ²ð π ²π π ý  ½  ππ ð   1

2

3

4

5

6

7 8

9

10

11 12 13 14 15

16 17 18 19 20

21

5.

π π π ²π π π ²π π π π π ý π ð

² π ²π ð Š ² 00 ² π 1

2

3

4

5

6

7

8

9

10 11

6. (R)

Š 02

ðý ðý −ðý 1

2

π ðý ð π ð ¼ π − π π ð

3

4

5 6 7 8

9

10 11

12

12 13 14

15 16

− ðý − ð ý ð π ð ¼ 13

14

15 16

17

7. (R)

π π ²π π π ð π ²ð π π π ²π π π ð π ²ð π π π ð π π Š 02 π π 1 2 3 4

5 6 7 8

9

10 11 12 13 14

15 16 17 18 19

20 21 22 23 24

25

8. (R)

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

²π π ¦π π π π π π π ²π π ² π π π ¦ π π π π π π π π −π π Š 42 1

2

3

4

5

6

7

8

9

10 11 12 13 14 15

16 17 18 19 20 21

22 23 24

9. (R)

²² . π ý π π Š 0  ¼ 1

2

3

ππππππ πý π π ¦ π ý −π π π π π ¼ ¼   4

5

6

7

8

9

10 11 12 13 14 15 16 17 18

10. (R)

π ý π π −π π ý π π π π ý π π ý  π π ý ²/   ý π π π π Š 0 π πππ π ππ    1

2 3 4

5

6 7 8

9

10 11 12 13

14 15 16 17

18 19 20 21

22 23 24

Unit 14

219

ben01366_un14.qxd

6/8/09

4:30 PM

Page 220

Melody 14C Mode Identification: Dorian, Phrygian, Lydian, and Mixolydian Modes Each exercise consists of the Dorian, Phrygian, Lydian, or Mixolydian scale. DORIAN MODE is the same as the natural minor scale with a raised 6th. Listen for a natural minor scale with a raised 6th degree.

PHRYGIAN MODE is the same as the natural minor scale except for a lowered 2nd. Listen for a natural minor scale with a lowered 2nd degree.

LYDIAN MODE is the same as the major scale except for a raised 4th. Listen for a major scale with a raised 4th degree.

MIXOLYDIAN MODE is the same as the major scale except for a lowered 7th. Listen for a major scale with a lowered 7th degree.

D Natural Minor

Dorian Mode

Š Ð Ð Ð Ð Ð −Ð Ð Ð Ð Ð Ð Ð Ð ¦ Ð Ð Ð 1 2 3 4 5

6 7 8

E Natural Minor

1 2 3 4 5

Phrygian Mode

Ð Ð Š Ð ²Ð Ð Ð Ð Ð Ð Ð ¦ Ð Ð Ð Ð Ð Ð 1

2 3 4 5 6 7 8

F Major

1

2 3 4 5 6 7 8

Lydian Mode

ÐÐ ÐÐ Ð Ð Ð Ð ¦ Ð − Ð Ð Ð Š ÐÐ ÐÐ 1 2 3

4 5 6 7 8

G Major

Ð

Ð ²Ð Š ÐÐÐÐÐ 1 2 3 4 5 6

7 8

1 2 3

4 5 6 7 8

Mixolydian Mode

Ð

1 2 3 4 5 6

7 8

Ð ¦Ð ÐÐÐÐÐ

In the blanks provided, name the mode you hear. 1.

6.

2.

7.

3.

8.

4.

9.

5.

10.

In numbers 11–20 the modal scales will be played in reverse order—from the highest tone to the lowest. 11.

16.

12.

17.

13.

18.

14.

19.

15.

20.

220

Ear Training

6 7 8

ben01366_un14.qxd

6/8/09

4:30 PM

Page 221

NAME

DATE

SECTION

Melody 14D Interval Dictation: Three Intervals in Succession Each exercise consists of three intervals played in succession. The first note is given. Write the remaining notes on the staff in notation. 1.

2.

ŠÐ 6.

3.

−Ð

4.

5.

²Ð

−Ð Ð

7.

8.

9.

²Ð Ý

Ð

ŠÐ

10.

²Ð Ð

11.–20. (R) 11.

Ý −Ð

12.

13.

14.

²Ð

Ð

Ð Ý 16.² Ð

17.

18.

19.

−Ð

Ð ²Ð

15.

−Ð 20.

−Ð

Melody 14E

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Models and Embellishments: I-V-I Progression with Chromatic Melodic Embellishments 1. The model in this section is a I-V-I progression using four voices and containing chromatic embellishment. The upper three voices are always in open position. Sing all parts of this structure before class. 2. Your instructor will play the structure followed by embellishments of that structure. 3. Write the model’s embellishments on the numbered staves provided. Model:

Embellishments: 1.

Š 00 ÐÐ

Ð Ð

Ð Ð

00

Ý 0 ÐÐ 0

Ð Ð

ÐÐ

00

!

Unit 14

221

ben01366_un14.qxd

6/8/09

4:30 PM

Page 222

2.

3.

Š 00

00

Ý0 0

00

! 4.

5.

Š 00

/0

Ý0 0

/0

! 6.

7.

Š /0

/0

Ý/ 0

/0

! Harmony 14A Chord Function Identification: Secondary Dominants of IV(iv) and vi(VI) Each exercise consists of a series of four chords in block harmony. Indicate the analysis of each of the four chords in the blank provided. Notate each musical example as requested by your instructor. New chords:

222

Ý −− ¦ ÐÐÐ Ð

−Ð ¦ ÐÐÐ

−ÐÐÐ

−ÐÐÐ −− ÐÐÐÐ Ð

G Minor: V7/iv

vii°7/iv

V/VI

V7/VI

Ear Training

vii°7/ VI

ben01366_un14.qxd

6/8/09

4:30 PM

Page 223

NAME

DATE

SECTION

Numbers 1–15 contain root-position chords only: 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

12.

13.

14.

15.

Š

! Ý

Š

! Ý 11.–20. (R) 11.

Š

! Ý

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Numbers 16–25 contain inversions: 16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

Š

! Ý

Š

! Ý

Unit 14

223

ben01366_un14.qxd

6/8/09

4:30 PM

Page 224

Harmony 14B Chords in Music Literature: Secondary Dominants and Leading Tone Chords of iii and IV 1. Each exercise consists of four examples from music literature, which include a variety of harmonic rhythms and nonharmonic tones. 2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another.

!

C. −− −− A.π ¦ ππ π π B.−− −π π π π ππ −− ² π π Š −π π π π π Ý −− − π ππ ππ ¦ π −− ππ ππ ¦ π ππ −− ¦ π π −− π VI V43 / iv iv

V65 / IV IV V7

V

D.

−−− − − ¦ ππ π ¦ ππ ππ π ππ ππ −−−− ¦ ππ ππ π − π

V7/ iii iii V43

I

vii°7/ V i64 V7

I

ππ π π i

3. Your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and same inversions as one of the four models above. 4. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below, and prepare for the next example from music literature. 1.

2.

3.

4.

5. When the first four examples are completed, use the same procedure for models E–H. These (E, F, G, H) are the remaining four models. Pair them up with the examples from literature (5, 6, 7, 8).

!

− E. − Š π ¦ π −π π π Ý −− ¦ π ππ π π π V7/ii V7/ V V7 5. (R)

F.

π ππ I

6. (R)

G.

−− −π π π π π π π −− π π π vii°6/IV IV6 V6 7. (R)

H. −−−−− ¦ ππ ππ ππ ππ −− ππ π π π π π π ππ −−−− π ¦ π π −− ππ −¦ ππ − π I

V7/iv iv6 V6

i

ii65 vii°7/V I64 V7

8. (R)

Harmony 14C Aural Analysis: Four-Phrase Excerpt from a Beethoven Piano Sonata This section consists of a single four-phrase excerpt from a Beethoven piano sonata. (R)

224

Ear Training

ππ ππ ¦π π π π

ben01366_un14.qxd

6/8/09

4:30 PM

Page 225

NAME

DATE

SECTION

1. Listen to the excerpt four to six times. 2. Become familiar with the statements that follow. 3. Circle the numbers representing true statements regarding the excerpt. The questions are grouped according to category. Phrase Relationships and Construction 1. 2. 3. 4. 5. 6. 7.

The first and third phrases are in modified repeated relationship (consider all voices). The second and fourth phrases are in contrasting relationship. The fourth phrase contains a substantial phrase extension. The second phrase is parallel to the first. The melody line (uppermost voice) of the first and third phrases contains a sequence. The third and fourth phrases are in modified repeated relationship. The complete excerpt is a double period.

Cadences 8. The only perfect authentic cadence occurs at the end of the excerpt. 9. The second and fourth phrases end with different cadence types. 10. The first and second cadences are of different types. Harmony and Nonharmonic Tones 11. The first phrase contains only tonic and dominant harmony. 12. The second phrase contains only tonic and dominant harmony. 13. The excerpt modulates to the dominant. 14. The harmonic rhythm is consistently three chords only (two chord changes per phrase). 15. The first phrase contains two prominent escape tones (uppermost voice). 16. The first phrase contains two appoggiaturas (in the uppermost voice). 17. The final cadence contains both a suspension and a retardation. Miscellaneous

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

18. 19. 20.

The third phrase contains an Alberti bass figure. The complete excerpt contains an example of change of mode. An ostinato figure the length of a phrase is heard throughout the excerpt (four times).

Harmony 14D Harmonic Dictation: Chorale Phrases Containing Secondary Dominants Each exercise consists of a chorale phrase. Numbers 1–6 7–12

Number of Chords

Position

Nonharmonic Tones

4

Root position only

6–9

Root position and inversions

Occasional passing tone and suspension Several—any type

Unit 14

225

ben01366_un14.qxd

6/8/09

4:30 PM

Page 226

For numbers 1–6 (practice outside of class): It will help you to identify secondary dominants if you know the possibilities and common patterns. Numbers 1–6 contain no secondary leading-tone chords or inversions, so you should concentrate on the following: Major Triad or Dominant 7th Sounding 7th Chord on Scale Step:

Means a Secondary Dominant of:

1 2 3 6

IV V vi (VI in minor) ii

The following procedure is recommended: As you listen to each chord try to match the pitch of the root (bass pitch) by thinking it rather than singing it. Immediately recall the complete succession of chord roots. Associate the root pitches with solfeggio syllables or numbers. Convert the syllables or numbers to actual pitches, and write out the bass notes on the staves provided. Listen for major or major-minor sounds above each root—where you would normally expect minor triads and nondominant sounding 7th chords. In light pencil indicate these with a “V/” or “V7/.” You can complete the analysis later when you have more information. 6. If your instructor requests, in successive listenings pick out the soprano, alto, and tenor parts. Relate each to syllables or scale numbers. 7. Convert the syllables or numbers to actual pitches, and add the notes to the staves. 8. When you have completed the phrase, make sure you have placed the correct analysis symbols under those chords you determined to be secondary dominants (see step 5). Complete the analysis.

1. 2. 3. 4. 5.

1.–6. (R) 1.

!

Š /0 ππ π π π Ý/ π 0

2.

²² / π 0 π π ²² / π 0

FM: I

DM: I

CM: I

² / 4.π Š 0

3.

− /0 π π − /0 π 5.

6.

−− /0 π

−−− /0 π

π ݲ/ 0 π

−− / ππ 0

π −−− /0 π

GM: I

B −M: I

E −M: I

!

226

Ear Training

ben01366_un14.qxd

6/8/09

4:30 PM

Page 227

NAME

DATE

7.

8.

SECTION

²

Š − { ππ

{ ππ

Ý−{ π

²{ π π

FM: I

UPT GM: I

! −− − 9. Š { π π

!

10.

−−−− { ππ UPT

Ý −− { π π −

π −−−− {

UPT E −M: I

²

11.

Fm:

i

12.

Š { ππ

{ ππ UPT

! ²π ݲ{ π UPT Em: V

ππ { UPT Am:

i

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Harmony 14E Error Detection: Triads and 7th Chords Each exercise consists of two chords in four parts. 1. As played by the instructor, one note in each exercise is incorrect. Errors may occur in the soprano, alto, or tenor voices. 2. Indicate the chord (number 1 or number 2) containing the error. 3. Also, indicate the voice where the error occurs: S = soprano A = alto T = tenor

Unit 14

227

ben01366_un14.qxd

6/8/09

4:30 PM

Page 228

The following example indicates the correct procedure. Example Chord:

2

Voice:

S

−− 1.ππ π 2. π π 3. π π 4. π π 5. π π π π π π π π π ππ Š Ý −− ² ππ π ππ ² π π ππ π ππ ππ π

!

6.

π ππ 7. ππ π 8. π ππ 9. π π ²π ²π ²π ππ ππ π ππ ππ ππ ππ π π π π

Rhythm 14A Rhythmic Dictation: Subtriplet in Simple and Compound Meter Each exercise consists of a short phrase or melody. Complete the rhythm of each exercise on a neutral pitch. 1.

.0 π

π

2.

/0 π ý 3.

00 π 4.

42 π π π 5. (R)

4/ π

π

6. (R)

.. ð 228

Ear Training

π

10.

ππ ππ ππ ² ππ

ben01366_un14.qxd

6/8/09

4:30 PM

Page 229

NAME

DATE

SECTION

7. (R)

45 π π π 8. (R)

./ π π Rhythm 14B Error Detection: Subtriplet in Simple and Compound Meter Each exercise consists of a short melodic phrase. Circle the number indicating the beat that is not played as notated. 1.

00 π π π π π π π π π π π π π π π π π π π ý π π π π π π π π Ð 3

1

3

2

3

3

4

5

6

7

8

9 10 11 12

2.

¹ π π π π π π πππ π π π ý 42 π π π π ππππ  3 3 1

2

3

4

5

6

3.

/0 π π π π π π ý π π ý π π Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1

2

3

3

4

5

π π π π π π π ππππ π  

6

7

8

9

3

3

10

11

12

4.

ý ý -. -2 π π π π π π π π π π π π π π π π π π π π ππππ π π π π π π π 3

1

2

3

4

5

6

7

8

9 10 11 12

5.

00 π π π π π π π π π π π π π π π π π πππ π π π π 1

2

3

4

5

6

7

8

6.

.0 π π π π π π π π π π π π π π 3

1

2

3

3

πππππππ π 3

4

5

π π π

3

6

7

8

Unit 14

229

ben01366_un14.qxd

6/8/09

4:30 PM

Page 230

Transcription 14 Refer to instructions found in Transcription 1 (page 14). Recorded Example 40 in C minor Notate the entire musical selection that is played in this example.

− Š − − 00 ¹

¹ ¼

¹ ¼

¹

! Ý −− 0 π ¹ ¼ −0 π − ðð −− − − − ðð Š

77777

¹

−¦ ðððð ýýýý ¦ ðý

ππ π ¼

77777

! Ý −− −

Ý

¹ Š

− Š −−

¹ ¹

¹

¼ ½ Ð ¹ Ð

! Ý −− −

¼

¼ ½

πý

Recorded Example 41: Chord progression using the secondary dominant of IV and borrowed chords in the key of F major. After the two-measure “count off,” measures 1–16 of the following example are played twice. This is followed by the two-measure “tag” at the end. Write the chord symbol of each chord above the staff on the beat where it first occurs. Write each chord’s roman numeral and inversion below the staff.

Š − /0 π

π π

π π π

1

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

5

230

Ear Training

ben01366_un14.qxd

6/8/09

4:30 PM

Page 231

NAME

DATE

SECTION

9

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

&

13



17

Recorded Example 42: Chord progression using borrowed chords and secondary dominants of IV and vi in the key of E major. After the two-measure “count off,” measures 1–16 of the following example are played twice. This is followed by the two-measure “tag” at the end. Write the chord symbol of each chord above the staff on the beat where it first occurs. Write each chord’s roman numeral and inversion below the staff.

²²²² Š {π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & & 

& & & &

& & & &

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

5

9

13

17

Unit 14

231

ben01366_un14.qxd

6/8/09

4:30 PM

Page 232

ben01366_un15.qxd

6/8/09

4:31 PM

Page 233

NAME

DATE

SECTION

Unit 15 Melody 15A Melodic Dictation: Nondiatonic Tones Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before. Sample Melody 2

¦¦¦² 24 π π ²π π ý

 π π π π π ²π ¦π π ý

ππ π π

Sample Melody 1

− Š − − /4

ý

Sample Melody 3

Š − .0 π ý

 ²π

πý

π

πý

²π

ð

Each exercise consists of a short melodic excerpt containing one or two nondiatonic tones often suggesting secondary dominant harmony. 1. 2. 3. 4. 5.

Listen to the melody. Determine the tonic—it is always the first pitch given. In your mind, construct the scale and sing or think it. As you hear the melody again, memorize it in its entirety. Be aware of one or two pitches that are nondiatonic. When you have memorized the melody, sing it adding solfeggio syllables or numbers. Your instructor will tell you how to accommodate the nondiatonic pitches. 6. Convert the syllables or numbers to actual pitches, and notate the melody on the staff provided.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1. Gm (R)

− Š − /0 π π

2. GM (R)

4. E −M (R)

Ý−{ π 8. Am

Š .0 π

²²² . 0 π π

5. Dm (R)

Ý −− 2 π −4 6. FM (R)

3. AM (R)

². π π 0 − 4/ π 7. DM

² ý Š ² /0 π 9. CM

.0 π ý 233

ben01366_un15.qxd

6/8/09

4:31 PM

Page 234

10. A −M

11. Bm

²² / π ý 0

Ý −− − 2 − 4 πý 12. Em

13. FM

14. CM

−.0 π

² Š .0 π ý

π 42

(R) means recorded.

Melody 15B Error Detection: Five-Note Melodic Figures Each exercise consists of a series of five tones with one pitch printed incorrectly. The first pitch (not lettered) is always correct. Circle the letter (a, b, c, d) representing the incorrect pitch. 1.

Š ²Ð

2.

Ð −Ð a

3.

Ð Ð

b

c

5.

4.

Ð Ð ² Ð ² Ð ² Ð −Ð Ð Ð Ð Ð −Ð Ð −Ð Ð Ð

d

a

b

c

d

a

b

c

d

a

b

c

d

6.

7. − Ð 8.² Ð Ð Ð Ð 9. Ð − Ð Ð Š Ð Ð Ð Ð −Ð −Ð −Ð Ð −Ð Ð Ð Ð −Ð Ð Ð Ð Ð a b c

d

a

10.–21. (R) 10.

d

a b c

11.

Ý Ð −Ð Ð −Ð −Ð a

b c

b

c

d

a

b

c

d

b

c

d

18.

a

b

c

19.

a

234

b

c

Ear Training

d

a

b

c

d

c

d

a

b

c

d

−Ð Ð 17.² Ð Ð Ð − Ð Ð Ð Ð ²Ð a

20.

a

b

Ð Ð Ð Ð ²Ð

16.

d

Ð Ð Ý Ð Ð Ð Ð −Ð −Ð Ð Ð

a b c d

13.

−Ð − Ð Ð − Ð −Ð Ð −Ð Ð Ð −Ð

15. −Ð Ð Ð Ð Ð − Ð − Ð ²Ð ²Ð ¦ Ð a

a b c d

12.

14.

Ý

d

b

c

d

a

b

c

d

21.

Ð −Ð a

²Ð − Ð Ð Ð ²Ð ²Ð −Ð Ð b

c

d

a

b

c

d

ben01366_un15.qxd

6/8/09

4:31 PM

Page 235

NAME

DATE

SECTION

Melody 15C Mode Identification: Dorian, Phrygian, Lydian, Mixolydian, and Aeolian Modes Each exercise consists of the Dorian, Phrygian, Lydian, Mixolydian, or Aeolian scale. Recognize the mode of each melody. See Melody 14C for information concerning these modes. The Aeolian mode is the same as the natural minor. 1. In the blank provided, name the mode you hear. 1.

6.

2.

7.

3.

8.

4.

9.

5.

10.

2. Numbers 11–20 consist of very short melodies utilizing the same modal scales played in numbers 1–10. 3. Write the name of the mode used in each melody. 4. The instructor may also ask you to write the key signature for each melody. The beginning note, which is also the mode final, is given. Mode:

Beginning Note:

Modal Signature (Number of sharps or flats in signature):

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

11.–20. (R) 11.

D

12.

A

13.

C

14.

A

15.

A

16.

F

17.

D

18.

Eb

19.

E

20.

B

(R) means recorded.

Unit 15

235

ben01366_un15.qxd

6/8/09

4:31 PM

Page 236

Melody 15D Interval Dictation: Adding Proper Accidentals to Modal Melodies Each exercise consists of a ten-note modal melody. 1. The first and last notes are correctly written, but the accidentals have otherwise been removed. 2. Write the proper accidentals for each modal melody. (Do not change the letter names of any of the notes. They are correct.) 3. Write the name of the mode in the blank above each score. 1.

2.

π π π π π π π π π π

Šπ π π π π π π π π π 3.

4.

π π π π π π π π π π Š 5.

6.

Ý ²π π π π π π π π π ²π

π π π π π π π π π π 8. (R)

7.

Ý

π π π π π π π π π π

π π π −π π π π π π π π − π π π π π π π π π

9. (R)

10. (R)

π π π Šπ π π π π π π

π π π π π π π π π π

4. Exercises 11–15 are different from exercises 1–10 only in that they contain the element of rhythm. 5. The same directions apply to these as given for exercises 1–10. 11. (R)

Š /0 π π π

π π π

π π π ðý π

12. (R)

π Š 42 π π π π π π π π π π π π π π π π π ð ý 13. (R)

Š .0 −π π π π π −π π π 236

Ear Training

−π π π π π π π π π −π

ben01366_un15.qxd

6/8/09

4:31 PM

Page 237

NAME

DATE

SECTION

14. (R)

Ý / ²π π π π π π π π π π π π π π 0

π π π π ²π

15. (R)

Ý 0 ²π ý π π π π 0 

π π π ð

π ð

π

π π π π ²ð

Melody 15E Models and Embellishments: Harmonic Structure with Melodic and Harmonic Embellishments 1. The model in this section is a I-V-I progression in the major mode using four voices and containing a descending melodic line. Other chords are added to the progression and chromatic embellishments can also be found. The upper three voices are always in close position. Sing all parts of this structure before class. 2. Your instructor will play the structure followed by embellishments of that structure. 3. Write the model’s embellishments on the numbered staves provided. Model:

$

Ð Š 00 ÐÐ Ý0Ð % 0 Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

$

2.

Š 00 Ý0 % 0 $ Š 00 Ý0 % 0

Embellishments: 1.

ÐÐÐ

ÐÐ Ð

00

Ð

Ð

00 3.

00 00 4.

5.

00 00

Unit 15

237

ben01366_un15.qxd

6/8/09

4:31 PM

Page 238

6.

$

7.

Š 00 Ý0 % 0

00 00 8.

$

9.

Š 00 Ý0 % 0

00 00

Harmony 15A Chord Function Identification: All Secondary Dominants Each exercise consists of a series of four chords in block harmony. 1. In the blank provided, analyze each of the four chords. Notate each musical example as requested by your instructor. 2. All of the secondary dominants studied to date, plus that of iii, are used. All exercises are in G major. Numbers 1–15 contain root-position chords only. 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

Š

! Ý

Š

! Ý

238

Ear Training

ben01366_un15.qxd

6/8/09

4:31 PM

Page 239

NAME

DATE

SECTION

11.–20. (R)

11.

12.

13.

14.

15.

Š

! Ý Numbers 16–25 contain inversions. 16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

Š

! Ý

Š

! Ý

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Harmony 15B Chords in Music Literature: All Secondary Dominants and Leading-Tone Chords 1. Each exercise consists of four examples from music literature, which include a variety of harmonic rhythms and nonharmonic tones. 2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another. Pay close attention to key signatures in these examples.

B.

A.

!

C.

− ¦ Š − − ¦ π ππ ¦ π ππ ¦ ¦ π ² π π ππ ππ π ²π ¦π Ý −− ² π ¦ π ¦¦ π π − vii°7/ V i64

V

i

D.

π ² π ¦ ππ π −−− −ππ π π −π ππ π π − ¦ π π ¦ π ²π π ¦ π − −

¦π π

V7/ii V7/ V V7 I

vii°7/ii V/ V V7 I

ππ ππ ππ π ¦ ππ π

vii°7/ VII VII vii°7 i

Unit 15

239

ben01366_un15.qxd

6/8/09

4:31 PM

Page 240

3. Your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and same inversions as one of the four models above. 4. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below, and prepare for the next example from music literature. 1.

2.

3.

4.

5. When the first four examples are completed, use the same procedure for models E–H. These (E, F, G, H) are the remaining four models. Pair them up with the examples from literature (5, 6, 7, 8). E.

F.

G.

H.

− Š − − ππ π π π ¦π

¦¦¦ ² π ππ ¦ ππ ππ

ππ ππ ππ ππ

² π ππ ππ ¦ ππ

Ý −− ππ ππ ππ ππ −

π π π 𠦦¦ π π π π

π π ² π π ππ ππ

ππ π π π π π π

! V43/III III

5. (R)

V43

i

6. (R)

V7/vi

vi

V65

7. (R)

I

V6/ii

ii

V6

I

V42/ii

ii6

V42

I6

8. (R)

Harmony 15C Aural Analysis: Phrase, Key, Cadence, and Harmonic Relationships in a Five-Phrase Excerpt from a Beethoven Piano Sonata The exercise consists of a single five-phrase excerpt from a Beethoven piano sonata. (R) Listen to the five-phrase unit several times. Circle the true statements. Statements are grouped by subject matter. 1. Phrase relationships (only one of the five is correct): a. A AP* B A C b. A A B B C c. A AP B A B  d. A B C A D e. A B B A C *“P” refers to parallel phrase relationship.

2. Key relationships (more than one may be correct): a. The first phrase does not modulate. b. The excerpt contains numerous (at least ten) secondary dominants. c. The fourth and fifth phrases are clearly in different keys. d. The composition ends in a key different from the beginning. e. The second phrase ends with an authentic cadence in (or on) the dominant. 3. Cadences (more than one may be correct): a. Cadences at the ends of phrases represent authentic, half, and plagal types. b. The final cadence is authentic in the tonic key (key at the beginning of the excerpt). c. Most phrases of this excerpt can be divided into two-phrase members, each with a cadence of its own. d. The first and fourth phrases end with different cadence types. e. The first cadence is decorated with a suspension.

240

Ear Training

ben01366_un15.qxd

6/8/09

4:31 PM

Page 241

NAME

DATE

SECTION

The succession of chord roots contained in the first six chords of the final phrase of the except (these will be played separately for you): 4. The succession of chord roots is (only one is correct): a. G C F Bb Ab Db b. G C B E D G c. G C A D B E d. G E A D G C e. G D B F# D A

Harmony 15D Harmonic Dictation: Modulation in Chorale Phrases Each exercise consists of a short chorale phrase that contains a modulation. 1. Write the analysis of each chord in the blank provided. 2. Write the soprano and bass melodies on the staff in notation. 3. Write the alto and tenor melodies on the staff in notation. 1.

2.

− Š − 00 π

π

−− 00 π

Ý −− 0 π 0

π

−− 00 π

B −M: I

iii

B −M: I

! !

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

FM:

! vi

FM: 4. (R)

3.

− Š − 00 π

−− 00 π

π

Ý −− 0 π 0

−− 00 π

π

B −M: I

IV6

! 4 B −M: V2

! Gm:

E −M:

!

I6

Unit 15

241

ben01366_un15.qxd

6/8/09

4:31 PM

Page 242

5. (R)

6. (R)

− Š − −−− 00 π

ππ

Ý −− − 0 π −− 0

π

−−−−− 00 π

π

−−−−− 00 π

π

! i

B −m: i

III

B −m: i

! D −M:

! A −M: IV

vi

Harmony 15E Error Detection: Triads and 7th Chords Each exercise consists of three chords in four parts. As played by the instructor, one note in each exercise is incorrect. Errors may occur in any voice. 1. Indicate the chord (number 1, number 2, or number 3) containing the error. 2. Indicate the voice where the error occurs: S = soprano A = alto T = tenor B = bass The following example illustrates the correct procedure. Example Chord:

2

Voice:

T

² 1. Š ππ ² π π

2.

3.

4.

5.

ππ ² ππ π

² π π ππ

¦ ππ π π

π ππ π

π ππ π π π

π π ππ π

ππ ¦ π π ππ π π π

! ݲπ π π π π

² 6.π Š π ² ππ ¦ ππ

7.

8.

9.

10.

ππ π π π π

ππ ππ ² π

−π π ππ

ππ ππ ππ

π π π

ππ ππ π π

! ݲπ π π π π 242

Ear Training

ππ ππ ππ ² ππ ¦ ππ π

ben01366_un15.qxd

6/8/09

4:31 PM

Page 243

NAME

DATE

SECTION

Harmony 15F Identifying Modulations to Closely Related and Foreign Keys Each exercise consists of a series of 7th chords beginning in C major and modulating to a closely related or foreign key.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1. In the blank provided, write the name of the key to which the phrase modulates. All begin in the key of C. 2. The instructor may ask some class members to provide a harmonic analysis of each chord in the excerpt. Blanks are provided for this purpose. 1. Modulates from C major to Optional harmonic analysis:

.

2. Modulates from C major to Optional harmonic analysis:

.

3. Modulates from C major to Optional harmonic analysis:

.

4. Modulates from C major to Optional harmonic analysis:

.

5. Modulates from C major to Optional harmonic analysis:

.

6. Modulates from C major to Optional harmonic analysis:

.

7.–12. (R) 7. Modulates from C major to Optional harmonic analysis:

.

8. Modulates from C major to Optional harmonic analysis:

.

Unit 15

243

ben01366_un15.qxd

6/8/09

4:31 PM

Page 244

9. Modulates from C major to Optional harmonic analysis:

.

10. Modulates from C major to Optional harmonic analysis:

.

11. Modulates from C major to Optional harmonic analysis:

.

12. Modulates from C major to Optional harmonic analysis:

.

Rhythm 15A Rhythmic Dictation: More Difficult Rhythms Each exercise consists of a short melody. Complete the rhythm on a neutral pitch.

1.

42 π 2.

ý -25 π 3.

.0 π 4.

4/ π 5. (R)

00 ð 244

Ear Training

ben01366_un15.qxd

6/8/09

4:31 PM

Page 245

NAME

DATE

SECTION

6. (R)

-.4 π 7. (R)

00 π 8. (R)

.0 π Rhythm 15B Error Detection: More Difficult Rhythmic Errors Each exercise consists of a short melodic excerpt containing one error in rhythm. Circle the number indicating the rhythm that differs from that played.

1.

00 π π π π π π π π π π π π π π π 1

2

3

4

3

5

6

7

8

2.

-.4 π π π π π π π π π π π π π π π π π ý π π π π π ý π π π π ý Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1

2

3

4

5

6

7

8

3.

/0 π π ý 1

2

π π π π π πý π ¾ π π π π π π π ðý

ππ π ð 3

4

5

6

7

8

3

9

10

11

12

13

14

15

4.

¾ π ¾ π ¾ π πý π π π π 42 π π π π π π π π π π π π 1

2

3

4

5.

.. ¼ π π ý π π π π π π π π  3 1

2

3

4

π π π π π

ð ð ð

5

7

6

3

8

Ð 9

10

Unit 15

245

ben01366_un15.qxd

6/8/09

4:31 PM

Page 246

6.

π π π π π π πý π π π π π π π π π ðý

02 π π π π π π π 1

2

3

3

4

5

6

7.

40 π π π

π π π π π ππππ π π π π π π ð 3

1

2

3

4

5

6

7

8

9

10 11 12

13 14 15 16

8.

-2/ π 1

π π π π π πý  2

3 3

4

5

6

¾

πý π π π π πý 

7

8

9 3

10 11 12

Transcription 15 Refer to instructions found in Transcription 1 (page 14). Recorded Example 43 in C minor Notate the entire musical selection that is played in this example.

Ý −− / π −0 Ý −− −

 

Ý −− − Ý −− −



Recorded Example 44: Chord progression using all secondary dominants in the key of C major. After the two-measure “count off,” measures 1–8 of the following example are played twice. This is followed by the two-measure “tag” at the end. Write the chord symbol of each chord above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff.

Š {π ¼ π ¼ 246

Ear Training

π π π π

ben01366_un15.qxd

6/8/09

4:31 PM

Page 247

NAME

DATE

SECTION

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & & 

& & & &

& & & &

5

9

Recorded Example 45: Chord progression plus melody using any secondary dominants in the key of G major. After the two-measure “count off,” measures 1–16 of the following example are played twice, once without the melody and once with the melody. This is followed by the two-measure “tag” at the end. Write the chord symbol of each chord above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff. Write the melody on the staff. Note: This piece is in a “jazz swing” style. Eighth notes are written “straight” and played as triplet figures. 3

π π

=



π π

² Š {π ¼ π ¼ 1

π π π π

²

Š

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

5

²

Š 9

²

Š 13

² 

Š 17

²

Š Unit 15

247

ben01366_un15.qxd

6/8/09

4:31 PM

Page 248

ben01366_un16.qxd

6/8/09

4:31 PM

Page 249

NAME

DATE

SECTION

Unit 16 Melody 16A Melodic Dictation: Nondiatonic Tones Before beginning the exercises in this section, sing the following sample melodies. These melodies are transpositions to a singable range of three exercises in this section. In all ear training, learn to remember and recognize what you have seen and performed before. Sample Melody 1

Sample Melody 2

 πý π πý  ² . π π π π π π π π π ¦ π ²π ý π π π ý π í ²π Š 0 ππ ²π π í ππ í π Sample Melody 3

Š − /0 ð ý

π π ²π ð ý

π ²π ²π ð

¦π π ¼ ¼

Each exercise consists of a short melodic excerpt from music literature containing nondiatonic tones often suggesting momentary modulations or secondary dominant harmony. Listen to the melody. The key is given above the staff. Figure the relationship of the first note to the tonic and sing it. In your mind, construct the scale and sing or think it. As you hear the melody again, memorize it in its entirety. Be aware of pitches that are nondiatonic. When you have memorized the melody, sing it (in any register) adding solfeggio syllables or numbers. Your instructor will tell you how to accommodate the nondiatonic pitches. 6. Convert the syllables or numbers to actual pitches, and notate the melody on the staff provided. Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1. 2. 3. 4. 5.

1. Fm

−−− 0 π ý ¦ π − Š 0 3. GM

² Š /0 π 5. Gm

− Š − /0 ð

2. CM

π .0  4. Gm

−− .0  π 6. GM

². π 0 249

ben01366_un16.qxd

6/8/09

4:31 PM

Page 250

8. Cm (R)*

7. B −M - Gm

−−− /0 ðý

− Š − /0 π 9. Cm (R)

10. Am (R)

.0 π

− ðý Š − − /0 11. FM (R)

Š − /0 ðý 12. F ²m - AM (R)

²²² / Š 0 ²ð ý *(R) means recorded.

Melody 16B Error Detection: Short Melodic Segments Based on Intervals Each exercise consists of a series of six pitches. One of the pitches is different from that played. The first note of the series is always correct. Circle the letter representing the pitch that is different from that played. 1.

2.

a

b

c

d

e

4.

a

5.

Š Ð −Ð Ð Ð Ð −Ð a

b

c

d

e

3.

Ð Ð Ð −Ð Ð −Ð

Š Ð Ð Ð Ð Ð −Ð

b

c

d

e

a

b

c

d

e

Ð 8. Ð − Ð −Ð −Ð −Ð −Ð Ð Ð Š Ð −Ð Ð

250

b

Ear Training

c

d

e

a

b

c

d

e

Ð ² Ð Ð Ð 6. −Ð −Ð −Ð −Ð Ð Ð −Ð Ð

7.

a

Ð Ð ²Ð Ð ²Ð Ð

a

b

c

d

e

a

b

c

d

e

9.

Ð Ð Ð ²Ð Ð ²Ð a

b

c

d

e

ben01366_un16.qxd

6/8/09

4:31 PM

Page 251

NAME

DATE

SECTION

10.–18. (R) 10.

Ý Ð ² Ð Ð Ð Ð 11.² Ð ² Ð Ð Ð Ð ² Ð Ð a

b

c

d

e

Ý13. −Ð −Ð −Ð −Ð −Ð −Ð a

Ý16. ² Ð

b

c

d

a

b

c

d

12.

Ð

e

−Ð Ð ² Ð Ð −Ð a

b

c

d

e

14.

15. Ð ²Ð Ð Ð Ð ²Ð ²Ð ²Ð ²Ð Ð Ð ²Ð

e

a

b

c

d

e

a

b

c

d

e

18. −Ð ¦ Ð −Ð −Ð ¦ Ð 17.−Ð Ð −Ð ² Ð Ð Ð Ð −Ð −Ð Ð −Ð −Ð a

b

c

d

e

a

b

c

d

e

a

b

c

d

e

Melody 16C Melodic Dictation: Typical Blues Figures Each exercise consists of two measures of melody characteristic of the blues. BLUES

BLUES SCALE

A black-American song of lament supported by I, IV, and V harmony, and extending usually to twelve measures—although eight-, sixteen-, twenty-four-, and thirty-two-bar blues are not uncommon. A major scale with an added flat 3rd and flat 7th.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

ŠÐ

Ð

Ð

Ð −Ð ¦ Ð flat 3rd

Ð −Ð ¦ Ð

Ð

flat 7th

These melodies may contain combinations of the natural 3rd, the flat 3rd, the natural 7th, and the flat 7th. Although the following are only two measures long, they contain typical figures found in blues compositions. Complete each melody on the staff in notation. 1.

Š − 00 π

2.

²² 0 π π 0 π 3

− 0 3.π − Š 0

4.

¦¦ 00 π Unit 16

251

ben01366_un16.qxd

6/8/09

4:31 PM

Page 252

Ý ² 0 5.π 0

6.

²² 0 7. Š 0π

8.

− 00 𠦦 0 π 0

Ý 0 9.π 0

10.

²0 0 π

Melody 16D Interval Dictation: Two-Voice Modal Compositions Each exercise consists of a short excerpt from a two-voice composition of the sixteenth century. Complete the melodies on the staff in notation.

1.

π π

Š‡Ð

Ð

! Š‡ ÿ

Ð

ð ð

ð ð

ðý

Ð

π ð ð

2.

Š‡

ÿ

ÿ

½

ð

Ð

ð

Ð

! ð

݇Ð

π

−π π π

ð

π

¼

3.

Š−‡ ½

ð

π

ð

ð

π

Ð

! ðý Ý−‡ 252

Ear Training

π ð

π ð

ben01366_un16.qxd

6/8/09

4:31 PM

Page 253

NAME

DATE

SECTION

4.

Š−‡

ÿ

½

ð

Ð

ð ð

! πý

Š−‡ Ð

Ð

5.

πý

Š−‡ ð π π

!

ππ 

ð π π πý Ý−‡

π π ð

Ð Ð

ð π

ÿ

6.

Š−‡ Ð

ð

π

! πý

Š − ‡ πý

π

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Melody 16E Models and Embellishments: Harmonic Structure with Melodic and Harmonic Embellishments 1. The model in this section is a I-V-I progression in the minor mode using four voices and containing a descending melodic line. Other chords are added to the progression and chromatic embellishments can also be found. The upper three voices are always in close position. Sing all parts of this structure before class. 2. Your instructor will play the structure followed by embellishments of that structure. 3. Write the model’s embellishments on the numbered staves provided. Model:

Embellishments: 1.

− Ð Š − − 00 ÐÐ

¦ ÐÐÐ

ÐÐ Ð

00

Ý −− 0 Ð −0

Ð

Ð

00

! Unit 16

253

ben01366_un16.qxd

6/8/09

4:31 PM

−− − 0 2. Š 0

Page 254

3.

00

! Ý −− 0 −0 −− 0 4. − Š 0

00 5.

00

! Ý −− 0 −0 −− 0 6. − Š 0

00 7.

00

! Ý −− 0 −0 −− 0 8. − Š 0

00 9.

00

! Ý −− 0 −0 −− 010. − Š 0

00 11.

00

! Ý −− 0 −0 −− 012. − Š 0

00 13.

00

! Ý −− 0 −0

254

Ear Training

00

ben01366_un16.qxd

6/8/09

4:31 PM

Page 255

NAME

DATE

−− 014. − Š 0

SECTION

15.

00

! Ý −− 0 −0

00

Harmony 16A Chord Function Identification: German and French Augmented 6th Chords and the Neapolitan 6th Chord Each exercise consists of four chords in four-part harmony. Analyze each of the four chords in the blanks provided. Notate each musical example as requested by your instructor. New chords:

Ý −− ² ÐÐÐÐ ²ÐÐÐÐ G minor:

Gr 6

−ÐÐ Ð

Fr 6

N6

In these exercises the above chords are found in the positions shown:

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Numbers 1–15 contain root-position chords only: 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

Š

! Ý

Š

! Ý

Unit 16

255

ben01366_un16.qxd

6/8/09

4:31 PM

Page 256

11.–20. (R) 11.

12.

13.

14.

15.

Š

! Ý Numbers 16–25 contain inversions: 16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

Š

! Ý

Š

! Ý

Harmony 16B Chords in Music Literature: Neapolitan 6th Chords and Augmented 6th Chords 1. Each exercise consists of four examples from music literature, which include a variety of harmonic rhythms and nonharmonic tones. 2. Below you see four models (A–D). Your instructor will play each of these four models. Listen carefully and try to distinguish each—one from another. A.

!

B.

²² ¦ π π Š π π ² ππ π π Ý ²² π π ππ N6

256

i64

Ear Training

V7

C.

ππ ²² ππ ¦ ππ π ² π ππ π ² i

i

D.

²² π π π ²² ππ π π π π ² ² ² π ²π ²π π ²π π π π π ² π π ²² ππ ² ππ ¦ π π ²² π π

N6 vii°7/ V V

ii°65 V65/ V Fr.6 V

π ²π π π π π

iv6 Ger.6 i64

V

ben01366_un16.qxd

6/8/09

4:31 PM

Page 257

NAME

DATE

SECTION

3. Your instructor will play an example (1–4) from music literature. The music literature example contains the same chords and same inversions as one of the four models above. 4. When you have matched the literature example with one of the four sets of chords (A–D), place the letter in the appropriate blank below, and prepare for the next example from music literature. 1.

2.

3.

4.

5. When the first four examples are completed, use the same procedure for models E–H. These (E, F, G, H) are the remaining four models. Pair them up with the examples from literature (5, 6, 7, 8). E.

!

F.

²² π Š π π ² ππ π Ý ²² π ¦ π ² π π π i

5. (R)

N6

V

G.

²² π π π ²π π ² ππ ππ π ² i

6. (R)

H.

ππ ² π ²² π ¦ ππ ππ ² π ²² ππ π

ππ ² π

ππ ππ ² ππ π ππ ππ ² π π ² π ² π π ² π ¦² ππ ππ

iv Ger.6 i64

V

7. (R)

iv6 N6

i64

V

i

v6

Ger.6 V

8. (R)

Harmony 16C Aural Analysis: Binary, Rounded Binary, and Three-Part Forms

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Each exercise consists of a complete composition in binary, rounded binary (incipient three-part), or three-part form. The measure numbers for each composition are given. The instructor will count one measure before beginning to play so that you can follow the composition from the given numbers. 1. 2. 3. 4. 5. 6.

Bracket the phrases above the numbers. (The first phrase of each composition is correctly bracketed.) Indicate the phrase relationships above the brackets. Indicate the type of cadence at the end of each phrase beneath the number. Indicate the key of each cadence beneath the cadence type. Bracket any melodic sequences or repetitions beneath the numbers. Indicate the overall form of the composition (binary, rounded binary, or three-part form).

Unit 16

257

ben01366_un16.qxd

6/8/09

4:31 PM

Page 258

1. 24 meter. Andante cantabile. (R)

Measures:

1

Phrase A 2

3

4 Authentic C Major

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

31

32

33

34

35

36

37

38

39

40

Overall Form: __________________

3 2. 2 meter. (R)

Measures:

Phrase A 2 3

1

4 Half G minor

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

31

32

Overall Form: __________________

2 3. 2 meter with quarter note upbeat. (R) Phrase A Measures:

1

2 Rep

12

3

4 Authentic D Major

5

6

7

8

9

10

11

14

15

16

17

18

19

20

21

22

Rep

13

Overall Form: _______________________________________

258

Ear Training

ben01366_un16.qxd

6/8/09

4:31 PM

Page 259

NAME

DATE

SECTION

6 4. 8 meter with eighth note upbeat. (R) Phrase A Measures:

1

2

3

4 Half A minor

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

31

32

Overall Form: __________________

Harmony 16D Harmonic Dictation: Chorale Phrases Containing Neapolitan 6th and Augmented 6th Chords Each exercise consists of a chorale phrase. Except for the Neapolitan (normally found in first inversion) and augmented 6th chords (bass note a major 3rd below the tonic), the content of the phrases is: Numbers 1–4 5–7

Position Root position only Root position and inversions

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

1. In numbers 1–4 the Neapolitan and augmented 6th chords are always treated in the most conventional manner. Neapolitan 6th chord a. Major triad, the root of which is a minor 2nd above the tonic. b. Bass note is the 4th scale degree. 6 If required by your instructor, show c. Proceeds to the V chord, sometimes through its embellishment, the tonic 4. this embellishment with brackets. (See Harmony 9A.) Augmented 6th chords: a. Bass note is a major 3rd below the tonic. b. Italian and French types often proceed directly to V. 6 If required by your instructor, c. The German type will always progress to V, but through the cadential tonic 4. show this embellishment with brackets. (See Harmony 9A.) d. Italian 6th sounds like a dominant 7th without its 5th factor. e. French 6th does not sound like any diatonic chord, but it is a whole-tone chord—it contains only whole steps (no half steps). 2. A good way to identify the unique features of each augmented 6th chord is to play a number of them on the piano until you distinguish among the three types. 3. Numbers 5–7 contain root position and inversions. 4. Complete these phrases using the procedure in Melody 14B.

Unit 16

259

ben01366_un16.qxd

6/8/09

4:31 PM

Page 260

1.–4.(R) 1.

!

2.

− Š − − 00 ππ

²² 0 π 0 π

π Ý −− 0 π −0

π ²² 0 π 0

Cm:

Bm:

i 1

2

3

4

5

6

3.

i 1

7

4.

Š − 00 π

²²²² 0 ² π 0

π Ý−0 π 0

π ²²²² 0 π 0

2

3

4

5

6

7

! Dm:

i 1

2

3

4

5

6

C ²m: V 1

7

5.

!

6.

Š 00 π Ý 0 ππ 0

2

5

6

7

8

²²² 0 π 0 π

F ²m: 2

3

4

5

6

4

5

7

i 1

− 0 7.π − Š 0

! π Ý −− 0 π 0

260

4

²²² 0 π 0

CM: I 1

Gm:

3

i 1

Ear Training

2

3

6

7

8

2

3

4

5

6

7

ben01366_un16.qxd

6/8/09

4:31 PM

Page 261

NAME

DATE

SECTION

Harmony 16E Error Detection: Triads and 7th Chords Each exercise consists of three chords in four parts. As played by the instructor, one note in each exercise is incorrect. Errors may occur in any voice. 1. Indicate the chord (number 1, number 2, or number 3) containing the error. 2. Also, indicate the voice where the error occurs: S = soprano A = alto T = tenor B = bass The following example illustrates the correct procedure. Example Chord:

2

Voice:

A 1.

2.

Š − ππ ππ ² ππ Ý − ππ π π π

7.

4.

ππ ² ππ π ππ π ππ π

π π ππ π π π π π

! 6.

3.

8.

ππ ππ ππ

ππ ππ π

ππ π π π

9.

Š − ππ ππ ππ

ππ π ππ

ππ π π

Ý − π ππ ππ

ππ ππ ππ

ππ π ππ π

! Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

5.

ππ ² ππ π

10.

π π ππ π π π π π π

ππ ² ππ π ππ ππ π

Rhythm 16A Rhythmic Dictation: Changing Meters Each exercise consists of a short melody that employs changing meters.

Unit 16

261

ben01366_un16.qxd

6/8/09

4:31 PM

Page 262

Complete the rhythm on a neutral pitch and complete any incomplete changing meters.

1.

ä=ä

ä=ä

ä=ä

ä=ä

ä=ä

ä=ä

/0 π π π π .0

/0

.0

/0

.0

/0

ä=ä

ä=ä

ä=ä

ä=ä

00 π π π π 0

0

0

0

2.

3.

ã=ã

ã=ã

ã=ã

42 π π π π π π 0

4

0

4.

45 π π π π π π π π π 5. (R)

ã=ã

ã=ã

0

45

ã=ã

.0 π π π π π π 6. (R)

4

ã=ã

ã=ã

-.4 π π π π π π π π 42    

4

7. (R)

./ ð

â=â

ð

ð .

8. (R)

40 π π π π π

ã=ã

ã=ã

4

4

Rhythm 16B Error Detection: Review Each exercise consists of a short melodic excerpt containing one error in rhythm.

262

Ear Training

ben01366_un16.qxd

6/8/09

4:31 PM

Page 263

NAME

DATE

SECTION

Circle the number indicating the beat that is not played as notated. 1.

/0 π ý 1

π π π π π π π π π π π π π πý π πý π ðý 2

3

4

5

6

3

7

8

9

10

11

12

2.

00 ¼ ¹ π π π π ý π π ππππ π π π π π π π π π π π π Ð  3 1

2

3

4

5

6

7

8

9

10

11

12

10

11

12

3.

00 π ¹ π π ý π π ý π π ý π π ý π π π π π π π π π π π π π π π Ð  3 1

2

3

4

5

6

7

8

9

4.

ý ý ý 45 π ππππ π π π π π π π π π π π π π π π π π π π π π ð 3

1

2

3

4

5

πý

6

7

8

9

¹ π π π π

π π π π π π π π

πý π π π

¼

2

4

7

9

5.

/0 ¼ 1

3

5

6

8

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

6.

π π π π π π π πý πý π π πý π π π π πý π π π π π π 

00 π  1

3

2

3

4

5

6

3

7

3

8

9

7.

-.4 π π π ¹ π ¹ ¹ π ¹ ¹ π ¹ π π π ¹ π ¹ π π π π π π π π ý π ý ð ý     1

2

3

4

5

6

7

8

9

10

11

12

8. 3

3

./ ð π π π ð 1

2

3

ð π π ð

πý π π π π π π 

Ðý

4

7

10

5

6

8

9

11

12

Unit 16

263

ben01366_un16.qxd

6/8/09

4:31 PM

Page 264

Transcription 16 Refer to instructions found in Transcription 1 (page 14). Recorded Example 46 in G minor Notate the entire musical selection that is played in this example.

− Š − 42

¹

! Ý −− 2 4π − Š−

¹

¹

¹

! Ý −− − Š−

! Ý −− − Š−

¹

¹

! Ý −− − Š − ππ ýý

¹

¹ ¹ ¼ý

! Ý −− π ý π

264

Ear Training

¹ ¹ ¹

¹

¹ ¹

ben01366_un16.qxd

6/8/09

4:31 PM

Page 265

NAME

DATE

SECTION

Recorded Example 47: Chord progression using secondary dominants and augmented 6th chords in the key of D major. After the two-measure “count off,” measures 1–8 of the following example are played twice. This is followed by the two-measure “tag” at the end. (Be careful! This tag is a little different.) Write the chord symbol of each chord above the staff on the beat where it first occurs. Write each chord’s roman numeral and inversion below the staff.

²² Š {π ¼ π ¼

π π π π

1

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & &

& & & & 

& & & &

& & & &

5

9

Recorded Example 48: Chord progression plus melody using forms of the Neapolitan in the key of F major.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

After the two-measure “count off,” measures 1–16 of the following example are played three times, once without the melody and twice with the melody. This is followed by the two-measure “tag” at the end. Write the chord symbol of each chord above the staff on the beat where it first occurs. Write each chord’s roman numeral below the staff. Write the melody on the staff.

Š−{π ¼ π ¼

π π π π

1

Š− 5

Š−

Unit 16

265

ben01366_un16.qxd

6/8/09

4:31 PM

Page 266

9

Š− 13

Š−



17

Š−

266

Ear Training

ben01366_glos.qxd

6/18/09

10:02 AM

Page 267

Glossary

Accented neighboring tone An accented nonharmonic tone that leads by step from one consonance (chord tone) to another of the same pitch. Example: c D c—where “D” is the accented neighboring tone, while “c” and “c” are consonant chord tones. See notated example in Harmony Unit 2C. Accented passing tone An accented nonharmonic tone that moves by step from one consonance (chord tone) to another of different pitch. Example: c D e—“D” is the accented passing tone, while “c” and “e” are the consonances (chord tones). See notated example in Harmony Unit 2C. Alberti bass Figures of accompaniment, consisting generally of arpeggiations of a triad or 7th chord. First used in piano compositions to compensate for the quick sound decay associated with that instrument. Developed first by Domenico Alberti, the accompaniment figures later appeared in music for other instruments.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Anticipation A nonharmonic (dissonant) tone that leads by step from a consonance (chord tone) to another by repetition. Example: g A a—where “A” (dissonance) anticipates the pitch “a,” a chord tone in the next harmony. See notated example in Harmony Unit 2C. Appoggiatura A nonharmonic (dissonant) tone preceded by a skip and resolved by step. Example: e A g#— where “A” is the appoggiatura, leading by skip from a consonance “e” and resolving down one scale step to “g#.” See notated example in Harmony Unit 4C. Arpeggiated bass A type of 46 chord that is part of an arpeggiated bass figure. See Harmony Unit 9A. Arpeggiation A term applied to the notes of a chord when they are played one after another instead of simultaneously. Augmented triad A three-tone chord consisting of two superimposed major 3rds. Example: C E G#. Augmented 6th A group of chords so named because they contain the interval of an augmented 6th. The bass note is usually a major 3rd below the tonic— in major or minor keys. Examples in the key of C major or minor: Italian = Ab C F# German = Ab C Eb F# French = Ab C D F#

For notated illustrations of augmented 6th chords, see Harmony Unit 16A. Bass clef The clef: ? Binary form A two-part form with the two halves generally separated by a double bar. The first section often moves from tonic to dominant—or some other related key and ends with a cadence. The second section moves from dominant, relative major, or other related key back to the tonic. For a more thorough discussion, see the Harvard Dictionary of Music. Cadence A melodic or harmonic formula providing a momentary or permanent conclusion. In this text the harmonic cadences are: Authentic (V–I or vii°6–I), Plagal (IV–I), Half (I–V, ii–V, or IV–V), and Deceptive (V to vi). Cadential An adjective or adverb stemming from the word cadence. Changing tones Two successive nonharmonic (dissonant) tones. Leads by step from a chord tone (consonance), then skips to another nonharmonic tone, and finally resolves by step to a chord tone (consonance). Example: a B G# a—B and G# are the changing tones (dissonant), and the “a” on either end are chord tones. See notated example in Harmony Unit 4C. Chorale A hymn tune (tune only) of the Protestant Church. The chorales were harmonized by a host of composers from the seventeenth through twentieth centuries. Chord The simultaneous sounding of three or more pitches. In this text “chord” indicates a triad or 7th chord—three or four pitches arranged in major or minor 3rds and sounding together. Chromatic scale A twelve-note scale identified by its exclusive use of half-step intervals. Example: C C# D D# E F F# G G# A A# B C. Conjunct Melodic movement by half or whole steps. Consonance Agreeable sounds. In this text the consonant intervals are: P unisons, 5ths, and octaves; and major and minor 3rds and 6ths. The P4th, while technically a consonance, is considered a dissonance for harmonic reasons. Contrasting phrases Two phrases, the second of which, although complementary to the first, has a different contour and makeup.

267

ben01366_glos.qxd

6/18/09

10:02 AM

Page 268

Deceptive cadence A cadence progressing from dominant (V) to another that is not the tonic. V–vi is the most common.

popular music or jazz composition. Lead sheets generally contain the melody (often with lyrics) and the harmonies (written as pop chord symbols).

Diatonic Note or notes that are the pitches of a prescribed scale. In C major the diatonic pitches are: C D E F G A B.

Leading tone 7th scale step of major, melodic, and harmonic minor scales. The 7th step of the natural minor scale is called the subtonic because that pitch is more than a half-step from the tonic.

Diminished triad A three-tone chord consisting of two superimposed minor 3rds. Example: B D F. Disjunct Melodic movement by intervals larger than a whole step. Dissonance Disagreeable sounds. In this text the dissonant intervals are: P4th, major and minor 2nds and 7ths, and all diminished and augmented intervals. The P4th, while technically a consonance, is considered a dissonance for harmonic reasons. Dominant Fifth scale step. Dorian mode A system of seven tones with the same arrangement as from D to D on the white keys of the piano. Escape tone A nonharmonic (dissonant) tone that leads by step from a chord tone (consonance), then skips to another of different pitch. Example: g A f— where “A” is the escape tone leading from consonance “g,” and then skips down a M3rd to another consonance “f.” See notated example in Harmony Unit 2C. False sequence A melodic excerpt consisting partly of a sequence and partly of a repetition. Example: C d e C e f C f g—where de, ef, and fg form a sequence, and C C C comprises a repetition. See a notated example in Melody Unit 6C. Half cadence A cadence ending on the dominant (V) harmony. Most often found as IV–V, ii–V, or I–V. Harmonic minor scale A minor scale identified by half-step intervals between scale steps 2–3, 5–6, and 7–8. Homophonic Music with a texture consisting of one voice that stands out melodically, supported by either a simple or elaborated chordal accompaniment. Imperfect authentic An authentic cadence (V to I) in which: (1) the highest-sounding tone in the final chord is not the tonic pitch, (2) the dominant or tonic chord is not in root position, or (3) the leading-tone triad (vii°) or 7th chord is substituted for the dominant (V). Interval The difference (in vibrations) between two pitches.

Lydian mode A system of seven tones with the same arrangement as from F to F on the white keys of the piano. Major scale A seven-tone scale with half-steps between scale steps 3–4 and 7–8. Major triad A three-tone chord built on a superimposed major, then minor, 3rd. Example: C E G. Mediant Third scale step. Melodic minor scale An ascending minor scale distinguished by the placement of half-steps at scale steps 2–3 and 7–8. The descending form of the melodic minor is the same as the natural minor. Melody An organized succession of pitches. Meter The system of regularly recurring pulses most often grouped by periodic accents. Example: 43 meter indicates that the beats are grouped by threes with the quarter note representing one beat or pulse. Minor triad A three-tone chord built on a superimposed minor, then major, 3rd. Example: A C E. Mixolydian mode A system of seven tones with the same arrangements as from G to G on the white keys of the piano. Modal signature While the modes are often explained as segments of the white keys of the piano, they were, in music literature, often transposed—in the same manner as the later major and minor scales of the seventeenth and eighteenth centuries. Modal signatures (similar to those in tonal music) are used for the transposed modes. Modes In this text, the word mode refers to the church modes (also known as Gregorian modes or Ecclesiastical modes). Dorian: Lydian: Aeolian: Phrygian: Mixolydian: Ionian:

DEFGABCD FGABCDEF ABCDEFGA EFGABCDE GABCDEFG CDEFGABC

Inversions Refers, in this text, to triads or 7th chords in which the lowest-sounding tone is not the root of the chord.

See notated examples of the modes in Melody Unit 14C.

Lead sheet An incomplete musical score that represents the harmonic and melodic framework for a

Neapolitan 6th chord An altered chord consisting of a major triad on the lowest second scale degree. The

268

Ear Training

ben01366_glos.qxd

6/18/09

10:02 AM

Page 269

Neapolitan 6th chord is found more often in minor than in major keys. The “6th” is appended to indicate that the chord most often occurs in first inversion. Neighboring tone A nonharmonic tone that leads by step from one chord tone to another of the same pitch. Neighboring tones may occur as accented or unaccented. Example: c D c—where “D” is the neighboring tone. For a notated illustration, see Harmony Unit 2C. Nonharmonic tone Not harmonic—not a chord tone. A pitch, sounding along with a chord, but not a note of the chord. Some types of nonharmonic tones are: passing tone, neighboring tone, suspension, anticipation, escape tone, appoggiatura, pedal tone, changing tones. For notated illustrations of nonharmonic tones, see Harmony Units 2C and 4C. Parallel phrases Two adjacent phrases (often comprising a period) where the beginning portion of both phrases is essentially the same, but the first ends with a half cadence, while the second is completed with an authentic cadence. Passing bass A type of 46 usage where the lowest6 sounding tone of the 4 chord acts as a passing tone. See Harmony Unit 9A. Pedal point A nonharmonic tone that is held or repeated, usually in the lowest voice, and alternates between consonance and dissonance with the chord structures above it. May also be found in voices above the bass. For a notated example see Harmony Unit 4C.

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Pentatonic scale A five-note scale often found in folk melodies. A variety of pentatonic scales exists. Among the more popular are: C D E G A C D F G A C E F G A. These examples may be transposed to begin on any other pitch. Perfect authentic cadence An authentic cadence (V–I) in which the tonic note of the scale is both the highest and lowest note of the final chord (tonic). Phrygian mode A system of seven tones with the same arrangement of half and whole steps as from E to E on the white keys of the piano. Pitch The identity of a sound according to the number of vibrations produced per second. Example: A = 440 vibrations per second. Plagal A cadence ending with the two chords IV to I. The Amen cadence. Pop chord symbols A system of labels for describing chords used in a jazz or popular music composition. A letter name for the root of each chord is followed by its quality. Alterations to the chord are also represented. 7 For example, Cmi 5 would be spelled C, Eb, Gb, Bb. A slash(/) to the right of a pop chord symbol, followed by a letter, indicates that a note other than the root is found

in the bass. For example, Cmaj7/E represents a C major seventh chord (CEGB) with an E in the bass. Quartolet A group of four notes occurs in a measure or portion thereof normally allotted to three. This rhythmic device is usually found in meter signatures of 6/8, 6/4, 9/8, 9/4, 12/8, or 12/4. Example: In 6/8 meter the first of two beats contains four eighth notes, usually indicated with a “4” above that portion of the measure. The four notes should be played in the time span normally allotted to three. Retardation A suspension where the suspended note resolves up a step rather than down a step (as in the suspension). Rhythm Overlaying or operating within the meter, rhythm is a pattern of uneven durations. While the steady beats of meter combine to form measures, a rhythm creates a pattern of almost any length. Sometimes a rhythm is so simple that it is simply a duplicate of the meter—in which case the two (meter and rhythm) are synonymous. Rhythmic repetition Repetition of a rhythmic pattern. Root The pitch upon which a chord is built. Example: C E G—“C” is the root. Root position The arrangement of a chord when the root is the lowest-sounding pitch. Rounded binary form A type of binary form in which the first section, or a portion thereof, usually indicated by the letter “A,” is inserted near the end of the second section (letter “B”). Thus, the term rounded is used to indicate the return of “A” material. For more detailed information consult the Harvard Dictionary of Music for the term binary form. Scale A series of ascending and/or descending pitches used to display the notes found in tonal and modal systems. For example, one of the scales displaying the pitches of the major mode is: C D E F G A B C. Sequence The immediate restatement of a melodic (or harmonic) figure at a higher or lower pitch so that the structure of the figure is maintained. Example— Pitches: CDE DEF EFG FGA. Each section of the sequence (CDE DEF, and so on) is known as a segment (of the sequence). Sequence segment The parts of the sequence. In the sequence CDE DEF EFG, CDE is the first SEGMENT, DEF is the second, and so on. Solfeggio Singing of melodies using the syllables: Do Re Mi Fa Sol La Ti. In the fixed-Do system Do is always C, and in the movable Do system Do is the first scale degree (tonic). Sound pattern Any combination of tones—melodic, harmonic, or rhythmic—that form a pattern.

Glossary

269

ben01366_glos.qxd

6/18/09

10:02 AM

Page 270

Stationary bass A type of 46 (second inversion) triad where the lowest-sounding tone of the chord is both approached and left by repetition. For a notated illustration, see Harmony Unit 9A. Supertonic Second scale degree. Supertriplet A triplet figure that extends beyond one beat. Example: in 42 meter, a group of three quarter notes that are intended to be performed in the time span normally allotted to the entire measure (two beats). Suspension A nonharmonic tone that proceeds: note to same note to note down a step (consonance) to (dissonance) to (consonance) Example: C to C to B For a notated illustration, see Harmony Unit 2C. Three-part form A form most often found in homophonic music, but existing as well in three-part polyphony, the first and third parts of which are either the same or nearly so. Usually designated by the letters A B A, three-part form is also known as ternary form. Tonic First scale degree.

270

Ear Training

Triad In this text a triad is a three-note chord consisting of the interval of a major or minor 3rd and a diminished, perfect, or augmented 5th above the lowestsounding note (root). The four types of triads are: Major triad Minor triad Diminished triad Augmented triad

= = = =

Example: C E G Example: D F A Example: B D F Example: C E G#

Tritone An interval comprising three whole steps— usually an augmented 4th or a diminished 5th. Example: C to F#. Unaccented neighboring tone A neighboring tone that is unaccented in relation to other notes of its same rhythmic value. Unaccented passing tone A passing tone that is unaccented in relation to other notes of its same rhythmic value. For a notated example, see Harmony Unit 2C. Whole-tone scale A scale made up entirely of whole steps. Example: C D E F# G# A# C.

ben01366_bm.qxd

6/8/09

4:33 PM

Page 271

Transcription Table of Contents Track

Name

Transcription Unit 1 1 2 3

Recorded Example 1 in G major Recorded Example 2 in C major Recorded Example 3 in B b major

Transcription Unit 2 4 5 6

Recorded Example 4 in C major Recorded Example 5 in Eb major Recorded Example 6 in C major

Transcription Unit 3 7 8 9

Recorded Example 7 in C major Recorded Example 8 in C major Recorded Example 9 in G major

Transcription Unit 4 10 11 12

Recorded Example 10 in C major Recorded Example 11 in C major Recorded Example 12 in D major

Transcription Unit 5 13 14 15

Recorded Example 13 in C major Recorded Example 14 in C minor Recorded Example 15 in G minor

Transcription Unit 6 16 17 18

Recorded Example 16 in D minor Recorded Example 17 in G major Recorded Example 18 in F minor

Copyright ©2010 The McGraw-Hill Companies, Inc. All rights reserved.

Transcription Unit 7 19 20 21

Recorded Example 19 in A minor Recorded Example 20 in D major Recorded Example 21 in E minor

Transcription Unit 8 22 23 24

Recorded Example 22 in C major Recorded Example 23 in C major Recorded Example 24 in C major

Transcription Unit 9 25 26 27

Recorded Example 25 in B b major Recorded Example 26 in B b major Recorded Example 27 in G major

Transcription Unit 11 31 32 33

Recorded Example 31 in G minor Recorded Example 32 in C major Recorded Example 33 in G minor

Transcription Unit 12 34 35 36

Recorded Example 34 in F major Recorded Example 35 in D major Recorded Example 36 in C major

Transcription Unit 13 37 38 39

Recorded Example 37 in D minor Recorded Example 38 in G major Recorded Example 39 in C major

Transcription Unit 14 40 41 42

Recorded Example 40 in C minor Recorded Example 41 in F major Recorded Example 42 in E major

Transcription Unit 15 43 44 45

Recorded Example 43 in C minor Recorded Example 44 in C major Recorded Example 45 in G major

Transcription Unit 16 46 47 48

Recorded Example 46 in G minor Recorded Example 47 in D major Recorded Example 48 in F major

Establish Keys 49 50 51 52 53 54 55 56 57 58 59 60

Establish C major Establish C minor Establish C# major Establish C# minor Establish D major Establish D minor Establish Eb major Establish Eb minor Establish E major Establish E minor Establish F major Establish F minor

61 62 63 64 65 66 67 68 69 70 71 72

Establish F # major Establish F # minor Establish G major Establish G minor Establish Ab major Establish Ab minor Establish A major Establish A minor Establish B b minor Establish Bb major Establish B major Establish B minor

Transcription Unit 10 28 29 30

Recorded Example 28 in F major Recorded Example 29 in C major Recorded Example 30 in C major

271

ben01366_bm.qxd

6/8/09

4:33 PM

Page 272