[Vocal] eyes & ears sight singing

2

Copyright c©2004 Benjamin CrowellAll rights reserved.

rev. August 25, 2004

Permission is granted to copy, distribute and/or modify this document under the terms of the CreativeCommons Attribution Share-Alike License, which can be found at creativecommons.org. The book’sweb site,www.lightandmatter.com/sight/sight.html,provides the book for downloading free of charge, and also gives further details about the copyrightsof the individual melodies.

Brief Contents

I Rhythm 13I-1 Whole, Half, and Quarter Notes 13

I-2 3/4 Time, and Dotted Half-Notes 14

I-3 Eighth Notes 14

I-4 Dotted Quarter Notes 14

I-5 Sixteenth Notes 15

I-6 Dotted Eighth Notes 15

I-7 Compound Time 16

I-8 Syncopation 16

I-9 Triplets 16

II Major Keys 17II-1 Introduction to Solfeggio 17

II-2 Melodies Containing Only Steps 19

II-3 Leaps to ‘Do’ 25

II-4 Leaps Back to Remembered Notes 25

II-5 Easy Leaps Within the Tonic Triad 27

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

II-7 Leaps of a Sixth Within the Tonic Triad 32

II-8 Leaps Within the Dominant 34

II-9 Wider Leaps Within the Dominant 40

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III Minor Keys 47III-1 Solfeggio in the Minor Mode 47

III-2 Steps 49

III-3 Leaps Within the Tonic Triad 52

III-4 Leaps Within the Dominant 55

IV Other Diatonic Materials 63IV-1 Leaps Between the Tonic and Dominant 63

IV-2 Leaps Within the Subdominant, Major Keys 65

IV-3 Wide Leaps Within the Subdominant 75

IV-4 Leaps Within the Subdominant, Minor Keys 77

IV-5 Leaps of a Seventh 80

IV-6 Other Perfect Fourths and Fifths 84

IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale 90

V Nondiatonic Materials 93V-1 Secondary Dominants and Lower Neighbor Tones 93

V-2 Blue Notes 102

V-3 Relative Minor and Major 104

VI The C Clef 107

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Contents

I Rhythm . . . . . . . . .13I-1 Whole, Half, and Quarter

Notes . . . . . . . . . . . . . . . .131 rhythm of Twinkle Twinkle, Little Star, 4/4 . 13

2 rhythm of Little Brown Jug, 4/4 . . . . . 13

3 rhythm of Bingo, 4/4 . . . . . . . . . . 13

4 rhythm of Rain, Rain, Go Away, 4/4 . . . . 13

5 rhythm of O Come, All Ye Faithful, 4/4 . . 13

I-2 3/4 Time, and Dotted Half-

Notes . . . . . . . . . . . . . . . .146 rhythm of We Three Kings, 3/4. . . . . . 14

7 rhythm of Take Me Out to the Ball Game, 3/414

I-3 Eighth Notes . . . . . . . . .148 rhythm of O Little Town of Bethlehem, 4/4 . 14

9 rhythm of We Wish You a Merry Christmas,3/4 . . . . . . . . . . . . . . . . . . 14

10 rhythm of This Old Man, 4/4 . . . . . . 14

11 rhythm of Hush Little Baby, 4/4 . . . . . 14

I-4 Dotted Quarter Notes . . . .1412 rhythm of Jingle Bells, 4/4 . . . . . . . 14

13 rhythm of Jimmy Crack Corn, 4/4 . . . . 14

14 rhythm of Away in a Manger, 3/4 . . . . 15

15 rhythm of Rockabye Baby, 3/4 . . . . . 15

16 rhythm of Home On the Range, 3/4 . . . 15

I-5 Sixteenth Notes. . . . . . . .1517 Tchaikovsky, rhythm of trepak from TheNutcracker, 2/4 . . . . . . . . . . . . . 15

I-6 Dotted Eighth Notes . . . . .1518 rhythm of Alouette, 4/4 . . . . . . . . 15

19 Tchaikovsky, rhythm of waltz of the flowersfrom The Nutcracker, 3/4 . . . . . . . . . 15

20 rhythm of I’ve Been Working on the Rail-road, 4/4 . . . . . . . . . . . . . . . 15

I-7 Compound Time . . . . . . .1621 rhythm of Here We Go Round the MulberryBush, 6/8 . . . . . . . . . . . . . . . 16

22 rhythm of The Itsy-Bitsy Spider, 6/8 . . . 16

23 rhythm of Pop Goes the Weasel, 6/8 . . . 16

24 rhythm of Row, Row, Row Your Boat, 12/8 16

I-8 Syncopation . . . . . . . . . .1625 Joplin, rhythm of The Entertainer, 2/4 . . 16

I-9 Triplets. . . . . . . . . . . . .1626 Tchaikovsky, rhythm of march from TheNutcracker, 4/4 . . . . . . . . . . . . . 16

II Major Keys. . . . .17II-1 Introduction to Solfeggio . .17

II-2 Melodies Containing Only

Steps . . . . . . . . . . . . . . . .1927 C, 4/4 . . . . . . . . . . . . . . . 19

28 C, 4/4 . . . . . . . . . . . . . . . 19

29 C, 3/4 . . . . . . . . . . . . . . . 19

30 Beethoven, Ode to Joy, C, 4/4 . . . . . 19

31 G, 3/4 . . . . . . . . . . . . . . . 19

32 G, 3/4 . . . . . . . . . . . . . . . 19

33 carol (Bohemia), D, 4/4 . . . . . . . . 20

34 Bach, Chorale, ‘Herr, wie du willst, soschick’s mit mir’, A, 4/4 . . . . . . . . . 20

35 Latour, The Beautiful Angel, E, 6/8 . . . 20

36 Lewis, B, 3/4 . . . . . . . . . . . . 20

37 B[, 4/4 . . . . . . . . . . . . . . . 20

38 Lewis, B[, 4/4 . . . . . . . . . . . . 20

39 E[, 3/4 . . . . . . . . . . . . . . . 20

40 A[, 4/4 . . . . . . . . . . . . . . . 21

41 D[, 4/4 . . . . . . . . . . . . . . . 21

42 G[, 4/4 . . . . . . . . . . . . . . . 21

43 G, 6/8 . . . . . . . . . . . . . . . 21

44 C, 4/4, 1 . . . . . . . . . . . . . . 21

45 C, 3/4 . . . . . . . . . . . . . . . 21

46 G, 4/4 . . . . . . . . . . . . . . . 22

47 Lewis, C, 4/4 . . . . . . . . . . . . 22

48 Lewis, C, 4/4 . . . . . . . . . . . . 22

49 Lewis, C, 6/8 . . . . . . . . . . . . 23

50 Lewis, B[, 4/4 . . . . . . . . . . . . 24

II-3 Leaps to ‘Do’ . . . . . . . .2551 G, 3/4 . . . . . . . . . . . . . . . 25

52 F, 3/4 . . . . . . . . . . . . . . . 25

II-4 Leaps Back to Remembered

Notes . . . . . . . . . . . . . . . .2553 C, 4/4 . . . . . . . . . . . . . . . 25

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54 Bach, Chorale, ‘Seelenbrautigam, Jesu,Gottes Lamm’, A, 4/4 . . . . . . . . . . 25

55 Bach, Chorale, ‘Jesu, meiner Seelen Wonne’,A, 4/4. . . . . . . . . . . . . . . . . 25

56 G, 4/4 . . . . . . . . . . . . . . . 26

57 folk song, C, 3/4 . . . . . . . . . . . 26

II-5 Easy Leaps Within the Tonic

Triad . . . . . . . . . . . . . . . .2758 Beethoven, opening theme of Symphony #3(‘Eroica’), E[, 3/4 . . . . . . . . . . . . 27

59 Scarlatti, Su, Venite a Consiglio, G, 3/4 . . 27

60 Latham, Broadway Sights, A, 6/8 . . . . 27

61 A la Claire Fontaine (France), F, 2/4 . . . 27

62 Pergolesi, aria ‘Sancta Mater’ from StabatMater, G, 4/4. . . . . . . . . . . . . . 27

63 Sullivan, E[, 6/8 . . . . . . . . . . . 27

64 A Recouvrance (France), F, 4/4 . . . . . 28

65 Froebel, Pat-a-Cake, C, 12/8 . . . . . . 28

66 Carmela (Mexico), E[, 4/8 . . . . . . . 28

67 My Father, How Long? (Florida), F, 4/4 . 28

68 Bach, Chorale, ‘Es ist gewisslich an der Zeit’,B[, 4/4 . . . . . . . . . . . . . . . . 28

69 Annie Laurie, C, 4/4. . . . . . . . . . 29

70 Luther, We Come Unto Our Father’s God,G, 4/4. . . . . . . . . . . . . . . . . 29

71 Lawlan’ Jenny (Scotland), D, 3/4 . . . . 29

72 Foster, Hard Times Come Again No More,E[, 4/4 . . . . . . . . . . . . . . . . 29

73 Weston, Row, Burnie, Row, E[, 2/4 . . . 30

74 En Revenant d’Auvergne (France), B[, 2/4. 30

75 Entendez-Vous Sur l’Ormeau (France), F,4/4, 1 . . . . . . . . . . . . . . . . . 30

II-6 The Leap of a Fifth Withinthe Tonic Triad . . . . . . . . . .3176 Dans la Foret Lointaine (France), F, 2/4. . 31

77 The Beggar Girl (England), F, 6/8 . . . . 31

78 Hawthorne, Home, By and By, F, 4/4. . . 31

79 Froebel, Beckoning the Pigeons, G, 3/8 . . 31

II-7 Leaps of a Sixth Within the

Tonic Triad. . . . . . . . . . . . .3280 As-Tu Vu la Casquette? (France), G, 2/4 . 32

81 Praise, Member (South Carolina), G, 2/4 . 32

82 Froebel, Beckoning the Chickens, F, 2/4. . 32

83 folk song, G, 2/4 . . . . . . . . . . . 32

84 Poor Rosy (South Carolina), G, 2/4 . . . 32

85 Poor Rosy (South Carolina), C, 2/4 . . . 33

86 Wrighton, The Dearest Spot on Earth, B[,4/4 . . . . . . . . . . . . . . . . . . 33

87 Absent Davie (Scotland), D, 4/4 . . . . . 33

88 A, 4/4 . . . . . . . . . . . . . . . 33

89 B[, 3/4, 1 . . . . . . . . . . . . . . 33

II-8 Leaps Within the Dominant 3490 Mozart, allegro from ‘Eine kleine Nacht-musik’, F, 4/4 . . . . . . . . . . . . . 34

91 folk song, G, 3/4 . . . . . . . . . . . 34

92 Derrier’ Chez Nous il y a Trois Fleurs(France), G, 2/4. . . . . . . . . . . . . 34

93 Annchen von Tharau (Germany), G, 3/4. . 34

94 Ah! Mon Beau Chateau! (France), A, 2/4 . 34

95 Ainsi Font, Font, Font (France), G, 2/4 . . 35

96 Husband, Revive Us Again, C, 3/4 . . . . 35

97 Mozart, aria (Papageno) from ‘The MagicFlute’, G, 2/4 . . . . . . . . . . . . . . 35

98 Schonster Schatz, Mein Engel, D, 3/4. . . 35

99 Down in the Valley, C, 9/8 . . . . . . . 35

100 Musieu Bainjo (Louisiana), G, 2/4 . . . 35

101 Brother, Guide Me Home (Tennessee), A,4/4 . . . . . . . . . . . . . . . . . . 35

102 Serenata (California), B[, 2/2 . . . . . 36

103 Mozart, adagio from string quartet # 1, G,3/4 . . . . . . . . . . . . . . . . . . 36

104 Bach, Chorale, ‘Es spricht der UnweisenMund wohl’, B[, 4/4 . . . . . . . . . . . 36

105 Beuttner, Es kam ein treuer Bote, F, 4/4 . 36

106 Bach, Chorale, ‘Valet will ich dir geben’, D,4/4 . . . . . . . . . . . . . . . . . . 36

107 Bach, Chorale, ‘Wie bist du Seele in mir sogar betrubt’, G, 4/4 . . . . . . . . . . . 36

108 Gardez Piti Milatte-la (Louisiana), B[, 4/4 37

109 Shout On, Children (Georgia), A, 2/4 . . 37

110 Schubert, Wohin?, G, 4/8 . . . . . . . 37

111 Bach, Chorale, ‘Liebster Jesu, wir sind hier’,G, 4/4. . . . . . . . . . . . . . . . . 37

112 Haydn, menuet Oxford symphony, G, 3/4. 37

113 Bach, Chorale, ‘Mach’s mit mir, Gott, nachdeiner Gut’, D, 4/4 . . . . . . . . . . . 38

114 Schubert, Halt!, C, 6/8 . . . . . . . . 38

115 Holst, Venus theme from The Planets, D,3/4 . . . . . . . . . . . . . . . . . . 38

116 Serenata (California), B[, 2/2 . . . . . 38

117 If Your Foot Is Pretty, Show It (UnitedStates), D, 3/8 . . . . . . . . . . . . . 38

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118 G, 3/4 . . . . . . . . . . . . . . . 39

II-9 Wider Leaps Within the

Dominant . . . . . . . . . . . . .40119 Bates, America the Beautiful, C, 4/4 . . 40

120 Aux Marches du Palais (France), F, 6/8 . 40

121 Bach, Chorale, ‘Herr, wie du willst, soschick’s mit mir’, A, 4/4 . . . . . . . . . 40

122 Arlequin Tient Sa Boutique (France), A,2/4 . . . . . . . . . . . . . . . . . . 40

123 Ballade de Roland (France), G, 6/8 . . . 41

124 folk song, G, 6/8 . . . . . . . . . . 41

125 Tu Eres Mas Bella (Costa Rica), F, 2/4 . 41

126 Praise, Member (South Carolina), G, 2/4 . 41

127 Wach’ Auf, Mein Hort, F, 6/8 . . . . . 42

128 Barbara Allan (Scotland), B, 4/4 . . . . 42

129 Haydn, finale, London symphony, D, 4/4 . 42

130 Dans Notre Jardin (France), F, 2/4 . . . 42

131 The Gypsy Warning (Missouri), E[, 3/4 . 42

132 Jungfraulein, Soll Ich Mit Euch Gehn, F,4/4 . . . . . . . . . . . . . . . . . . 43

133 Strauss, Not Yet, A[, 6/8 . . . . . . . 43

134 Ah, Suzette, Chere (Louisiana), E[, 3/4 . 43

135 La Paloma Blanca (Arizona), F, 6/8 . . . 44

136 Schubert, Das Wandern, B[, 4/8 . . . . 44

137 Chill Ether (Scotland), E[, 3/4 . . . . . 44

138 folk song, A[, 3/4 . . . . . . . . . . 44

139 folk song, A, 6/8 . . . . . . . . . . 45

140 Bach, Chorale, ‘Nun ruhen alle Walder’, B[,4/4 . . . . . . . . . . . . . . . . . . 45

141 Bach, Chorale, ‘Wenn wir in hochstenNoten sein’, G, 4/4 . . . . . . . . . . . 45

142 The Duke of Argyle’s Courtship (Scotland),D, 3/4. . . . . . . . . . . . . . . . . 45

143 Samuel, The Fairy Boat, G, 2/4 . . . . 45

144 Gar Lieblich Hat Sich Gesellet, F, 2/4 . . 46

145 B[, 4/4, 1 . . . . . . . . . . . . . 46

III Minor Keys . . . .47III-1 Solfeggio in the Minor

Mode . . . . . . . . . . . . . . . .47

III-2 Steps . . . . . . . . . . . . .49146 a, 4/4 . . . . . . . . . . . . . . . 49

147 a, 6/8 . . . . . . . . . . . . . . . 49

148 a, 3/4 . . . . . . . . . . . . . . . 49

149 a, 3/4 . . . . . . . . . . . . . . . 49

150 Lewis, a, 4/4 . . . . . . . . . . . . 49

151 Lewis, a, 3/4 . . . . . . . . . . . . 49

152 Lewis, a, 3/4 . . . . . . . . . . . . 50

153 Lewis, d, 4/4 . . . . . . . . . . . . 50

154 Lewis, d, 4/4 . . . . . . . . . . . . 50

155 Lewis, d, 3/4 . . . . . . . . . . . . 50

156 Lewis, d, 3/2 . . . . . . . . . . . . 50

157 Lewis, a, 4/4 . . . . . . . . . . . . 51

III-3 Leaps Within the TonicTriad . . . . . . . . . . . . . . . .52158 c, 4/4 . . . . . . . . . . . . . . . 52

159 c, 4/4 . . . . . . . . . . . . . . . 52

160 Wedge, c, 3/4. . . . . . . . . . . . 52

161 Who Got Dirt on the Carpet Again?, c, 4/452

162 c, 3/4 . . . . . . . . . . . . . . . 52

163 c, 4/4 . . . . . . . . . . . . . . . 52

164 Wedge, f, 2/4 . . . . . . . . . . . . 53

165 Wedge, f, 2/4 . . . . . . . . . . . . 53

166 Wedge, f, 2/4 . . . . . . . . . . . . 53

167 f, 4/4 . . . . . . . . . . . . . . . 53

168 Bach, Chorale, ‘Herr, nun lass in Friede’, a,4/4 . . . . . . . . . . . . . . . . . . 53

169 Every Hour in the Day (Georgia), e, 2/4 . 53

170 Forget na’, dear Lassie (Scotland), a, 3/4 . 54

171 Bach, Chorale, ‘Es steh’n vor GottesThrone’, g, 4/4 . . . . . . . . . . . . . 54

172 Mozart, theme from symphony in G minor,g, 4/4 . . . . . . . . . . . . . . . . . 54

173 Thou Poor Bird, c, 4/4, 1 . . . . . . . 54

III-4 Leaps Within the Dominant55174 Wedge, g, 3/4. . . . . . . . . . . . 55

175 Wedge, g, 2/4. . . . . . . . . . . . 55

176 My Field (Russia), g, 4/4 . . . . . . . 55

177 g, 9/8 . . . . . . . . . . . . . . . 55

178 Wedge, g, 3/4. . . . . . . . . . . . 55

179 Wedge, g, 3/4. . . . . . . . . . . . 55

180 Wedge, c, 3/4. . . . . . . . . . . . 56

181 lullabye (Russia), e[, 4/4 . . . . . . . 56

182 Las Tristes Horas, e, 2/4 . . . . . . . 56

183 Wedge, g, 3/4. . . . . . . . . . . . 56

184 Froebel, The Wolf, c, 4/8 . . . . . . . 56

185 Guten Abend, g, 3/8 . . . . . . . . . 56

186 Bach, Gavotte II from cello suite # 5, c,12/8 . . . . . . . . . . . . . . . . . 56

187 Lolotte (Louisiana), c, 4/4 . . . . . . . 57

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188 Mozart, menuet from string quartet # 15,d, 3/4 . . . . . . . . . . . . . . . . . 57

189 Los Ojos Mexicanos (Mexico), g, 2/4 . . 57

190 White, Ophelia’s Song, e, 4/4 . . . . . 57

191 Bach, Chorale, ‘Nun sich der Tag geendethat’, a, 4/4. . . . . . . . . . . . . . . 57

192 Reir Es Necesario (Mexico), d, 2/4 . . . 57

193 En Avant, Grenadiers! (Louisiana), e[, 4/4 58

194 Angel de Mis Amores (Mexico), d, 2/4 . . 58

195 Schubert, Am Feierabend, a, 6/8 . . . . 58

196 Bach, Chorale, ‘O Traurigkeit, o Herzeleid’,a, 4/4 . . . . . . . . . . . . . . . . . 58

197 Brahms, Nachtwache 1, b, 4/4 . . . . . 58

198 Mi Sueno (Mexico), c], 3/4 . . . . . . 59

199 Bach, Chorale, ‘O Haupt voll Blut undWunden,’ from St. Matthew’s Passion, d, 4/4 . 59

200 Bach, Chorale, ‘Von Gott will ich nichtlassen’, b, 4/4 . . . . . . . . . . . . . 59

201 Wedge, g, 4/8. . . . . . . . . . . . 59

202 Wedge, g, 3/4. . . . . . . . . . . . 60

203 Handel, aria ‘O Jordan, Sacred Tide’ fromEsther, g, 3/4. . . . . . . . . . . . . . 60

204 Go Down, Moses (Unites States), g, 4/4 . 61

IV Other DiatonicMaterials. . . . . . . . . .63IV-1 Leaps Between the Tonicand Dominant . . . . . . . . . . .63205 Ya Viene El Alba (California), G, 2/4 . . 63

206 Scarlatti, Gia il Sole dal Gange, A[, 3/4 . 63

207 Schubert, Danksagung an den Bach, G, 2/463

208 Grieg, e, 4/4 . . . . . . . . . . . . 63

209 zandunga folk song (Southern Mexico), e,3/4 . . . . . . . . . . . . . . . . . . 64

210 Carcini, Amarilli, Mia Bella, g, 4/4 . . . 64

IV-2 Leaps Within the Subdom-

inant, Major Keys . . . . . . . . .65211 Jehovah, Hallelujah (South Carolina), F,3/4 . . . . . . . . . . . . . . . . . . 65

212 Arlequin Marie Sa Fille (France), C, 3/4 . 65

213 folk song, F, 2/4. . . . . . . . . . . 65

214 folk song, F, 2/4. . . . . . . . . . . 65

215 Foster, Old Folks at Home, D, 4/4 . . . 66

216 Lang Johnny More (Scotland), F, 2/4 . . 66

217 The Bonniest Lass in a’ The Land (Scot-land), C, 2/4 . . . . . . . . . . . . . . 66

218 Da Unten Im Tale, E[, 3/4 . . . . . . 67

219 I Want To Be Ready (United States), E[,2/4 . . . . . . . . . . . . . . . . . . 67

220 Fasolo, Cangia, Cangia Tue Voglie, C, 2/4 67

221 The Ash Grove (Wales), F, 3/4 . . . . . 67

222 West, The Jenny Lind Mania (UnitedStates), G, 2/4 . . . . . . . . . . . . . 67

223 Au Jardin de Mon Pere (France), F, 6/8 . 67

224 Strauss, Devotion, C, 4/4 . . . . . . . 67

225 I Ride an Old Paint (United States), D, 3/468

226 Handel, aria ‘Hush ye pretty warbling quire’from Acis and Galatea, F, 3/8 . . . . . . . 68

227 Tallis, If Ye Love Me, F, f/major . . . . 68

228 Sinner Won’t Die No More (Tennessee), A,4/4 . . . . . . . . . . . . . . . . . . 69

229 Mozart, opening from clarinet quintet, A,4/4 . . . . . . . . . . . . . . . . . . 69

230 The Gold Band (Tennessee), G, 3/4 . . . 69

231 Pergolesi, tune from Stabat Mater, G, 4/4 69

232 Bonnie Wee Window (Arkansas), E, 6/8 . 70

233 Fearis, Beautiful Isle of Somewhere, A[, 6/870

234 Red River Valley, E, 4/4 . . . . . . . 70

235 I’m In Trouble (Florida), C, 4/4. . . . . 70

236 Haydn, introduction, London symphony, D,4/4 . . . . . . . . . . . . . . . . . . 70

237 Cowboy’s Home Sweet Home (Arkansas),G, 12/8 . . . . . . . . . . . . . . . . 71

238 Calinda (Louisiana), F, 6/8 . . . . . . 71

239 The Braes O Yarrow (Scotland), C, 3/4 . 71

240 Mozart, andante from string quartet # 2,A, 3/4. . . . . . . . . . . . . . . . . 71

241 The Wild Moor (Missouri), B, 3/4 . . . 71

242 Brahms, introduction, 1st symphony, C,4/4 . . . . . . . . . . . . . . . . . . 71

243 Caroline (Louisiana), G, 4/4 . . . . . . 72

244 Avril (France), E[, 6/8 . . . . . . . . 72

245 Mozart, menuet from string quartet # 10,C, 3/4. . . . . . . . . . . . . . . . . 72

246 The Hallowed Spot (Missouri), A[, 3/4. . 72

247 folk song (Russia), G, 2/4 . . . . . . . 73

248 The Ship That Never Returned (Missouri),A, 2/4. . . . . . . . . . . . . . . . . 73

249 Paradies, M’ha Preso Alla Sua Ragna, A[,2/4 . . . . . . . . . . . . . . . . . . 74

250 Die Sonne Scheint Nicht Mehr, E, 4/4 . . 74

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IV-3 Wide Leaps Within the

Subdominant . . . . . . . . . . .75251 Mozart, presto from string quartet # 4, C,2/4 . . . . . . . . . . . . . . . . . . 75

252 Ellor, Diadem, B[, 3/4 . . . . . . . . 75

253 Mozart, rondo from string quartet # 6, B[,2/4 . . . . . . . . . . . . . . . . . . 75

254 Adieu, Bonne Hotesse (France), F, 4/4. . 75

255 Derriere Chez Moi (France), F, 2/4 . . . 76

256 Foster, The Song of All Songs, F, 4/4 . . 76

IV-4 Leaps Within the Subdom-

inant, Minor Keys . . . . . . . . .77257 Wedge, f, 2/4 . . . . . . . . . . . . 77

258 Wedge, f, 3/4 . . . . . . . . . . . . 77

259 Wedge, c, 2/4. . . . . . . . . . . . 77

260 g, 4/4 . . . . . . . . . . . . . . . 77

261 Hanukah O Hanukah, d, 4/8, Presto . . . 78

262 Vivo Llorando la Suerte (Mexico), d, 2/4 . 78

263 Mozart, Osanna (bass solo, allegro) fromSanctus, Requiem, D, 3/4 . . . . . . . . . 78

264 Bach, trio from Brandenburg concerto #1, d, 3/4 . . . . . . . . . . . . . . . . 78

265 Que No Te Amo (Mexico), g, 4/4 . . . . 78

266 folk song (Russia), d, 4/4 . . . . . . . 79

267 folk song (Russia), f, 2/4 . . . . . . . 79

268 Entre Vous Tous Gens de la Ville (France),f, 3/4 . . . . . . . . . . . . . . . . . 79

IV-5 Leaps of a Seventh . . . . .80269 Mozart, menuet from string quartet # 8,F, 3/4 . . . . . . . . . . . . . . . . . 80

270 Hess, Little Charley Went a Fishing, F, 6/8 80

271 folk song, A, 4/4 . . . . . . . . . . 80

272 Carmela (Mexico), E[, 4/8. . . . . . . 81

273 Mozart, menuet from string quartet # 1,C, 3/4. . . . . . . . . . . . . . . . . 81

274 Gwine Follow (South Carolina), A, 2/4 . . 82

275 Mendelssohn, aria ‘If with all your hearts yetruly seek me’ from Elijah, E[, 3/4 . . . . . 82

276 Widdecombe Fair (England), C, 3/4 . . . 82

277 Walk, Shepherdess, Walk (Arkansas), C,4/4 . . . . . . . . . . . . . . . . . . 82

278 Reir Es Necesario (Mexico), F, 2/4 . . . 82

279 folk song (Russia), A, 3/4 . . . . . . . 83

280 A Quinze Ans (France), g, 6/8 . . . . . 83

281 Mozart, menuet from string quartet # 8,F, 3/4 . . . . . . . . . . . . . . . . . 83

282 Mozart, presto from string quartet # 7, E[,2/4 . . . . . . . . . . . . . . . . . . 83

IV-6 Other Perfect Fourths and

Fifths . . . . . . . . . . . . . . . .84283 Mozart, opening from string quartet # 4,C, 4/4. . . . . . . . . . . . . . . . . 84

284 folk song, G, 2/4 . . . . . . . . . . 84

285 La Rana (Mexico), D, 3/4 . . . . . . . 85

286 Harris, After the Ball, B[, 3/4 . . . . . 85

287 Sullivan, Take a Pair of Sparkling Eyes, F,6/8 . . . . . . . . . . . . . . . . . . 85

288 Sullivan, Sing Hey to You, Good-Day toYou!, G, 2/4 . . . . . . . . . . . . . . 85

289 Foster, Slumber My Darling, E[, 6/8. . . 85

290 Rimsky-Korsakov, Scheherezade (themefrom third movement), C, 6/8 . . . . . . . 86

291 Beethoven, opening movement from stringquartet # 1, F, 3/4 . . . . . . . . . . . 86

292 Mozart, trio from string quartet # 1, C, 3/486

293 Abt, Kathleen Aroon, G, 3/4 . . . . . . 86

294 Giordiano,, Caro Mio Ben, D, 4/4 . . . . 86

295 Remon (Louisiana), F, 2/4. . . . . . . 87

296 G, 2/4 . . . . . . . . . . . . . . . 87

297 Pergolesi, aria from Stabat Mater, G, 4/4. 87

298 Bach, menuet II from cello suite # 2, D,3/4 . . . . . . . . . . . . . . . . . . 87

299 Brahms, introduction, 1st symphony, C,4/4 . . . . . . . . . . . . . . . . . . 88

300 Milhaud, Chant de Sion, A[, 4/4 . . . . 88

301 Sagt Mir, O Schonste Schaf’rin Mein, A,6/8 . . . . . . . . . . . . . . . . . . 88

302 Gunhilde, F, 2/4 . . . . . . . . . . . 89

303 Ach, Englische Schaeferin, F, 3/4 . . . . 89

304 Bach, Chorale, ‘War’ Gott Nicht Mit UnsDiese Zeit’, C, 4/4 . . . . . . . . . . . . 89

IV-7 The Diminished Seventh

Chord, and the Harmonic Minor

Scale . . . . . . . . . . . . . . . .90305 a, 4/4 . . . . . . . . . . . . . . . 90

306 O Daniel (Florida), d, 4/4 . . . . . . . 90

307 Bach, Invention 2, c, c/minor . . . . . 90

308 Mozart, andante un poco allegretto fromstring quartet # 5, a, 4/4 . . . . . . . . . 90

309 Goldfaden, Raisins with Almonds, a, 3/4,Lullabye . . . . . . . . . . . . . . . . 91

8

V Nondiatonic Materials93V-1 Secondary Dominants and

Lower Neighbor Tones . . . . . .93310 Luther, A Mighty Fortress Is Our God, D,4/4 . . . . . . . . . . . . . . . . . . 93311 Kevin Barry (Ireland), C, 3/4. . . . . . 93312 Who Got Dirt on the Carpet Again?, c, 4/493313 Autrefois le Rat de Ville (France), G, 2/4 . 94314 Mozart, aria from the Magic Flute, E[, 3/8 94315 Let God’s Saints Come In (Virginia), G, 2/494316 Vivo Penando (California), F, 2/4 . . . . 94317 Allan Maclean (Scotland), G, 3/4 . . . . 95318 Stradella, Ragion Sempre Addita, A, 3/8 . 95319 Dans le Port, Il Est Arrive (France), G, 2/4 95320 Root, Brother, Tell Me of the Battle, D,3/4 . . . . . . . . . . . . . . . . . . 95321 McNaughton, The Faded Coat of Blue, G,4/4 . . . . . . . . . . . . . . . . . . 96322 Mozart, menuet from string quartet # 1,C, 3/4. . . . . . . . . . . . . . . . . 96323 Haydn, adagio poco cantabile from stringquartet, Op. 73, #3 (‘Emperor’), G, 4/4 . . . 97324 Crepusculo (Mexico), D, 2/4 . . . . . . 97325 Media Noche (California), E[, 2/4. . . . 97326 Pergolesi, tune from Stabat Mater, f, 4/4. 98327 Bach, Bourree II from orchestral suite #2,b, 4/4 . . . . . . . . . . . . . . . . . 98328 The Cruel Mother (England), E[, 3/4 . . 98329 Hawthorne, Out of Work, A[, 4/4 . . . . 98330 Joplin, The Easy Winners, C, 2/4 . . . . 99331 Edwards, In My Merry Oldsmobile, G, 3/4 99332 Erlaube Mir, Fein’s Madchen, F, 3/4. . .100333 Bach, Menuet I from orchestral suite #1,G, 3/4. . . . . . . . . . . . . . . . .100334 Handel, chorus from ‘Judas Maccabaeus’,C, 4/4. . . . . . . . . . . . . . . . .101

V-2 Blue Notes . . . . . . . . . .102335 The Graveyard (South Carolina), F, 2/4 .102

336 Roll, Jordan, Roll (United States), D, 2/4 102

337 Cyclone at Ryecove (Missouri), A, 3/4 . .102

338 Europe, Goodnight Angeline, G, 4/4 . . .103

339 ’Tis Me, O Lord (Unites States), A[, 4/4 .103

V-3 Relative Minor and Major .104340 Schwesterlein, g, 3/4 . . . . . . . . .104

341 Es Ritt ein Ritter, b, 6/8 . . . . . . .104

342 Cradle Song (Sweden), f, 2/4 . . . . .104

343 Bach, Chorale, ‘Befiehl du deine Wege’, b,4/4 . . . . . . . . . . . . . . . . . .104

344 Bach, Chorale, ‘Das Walt’ Mein Gott,Vater, Sohn’, d, 4/4 . . . . . . . . . . .105

345 Feinsliebchen, Du Sollst, a, 2/4 . . . . .105

346 Bach, Chorale, ‘Gib Dich Zufrieden und SeiStille’, e, 4/4 . . . . . . . . . . . . . .105

VI The C Clef . . . .107347 C, 4/4 . . . . . . . . . . . . . . .107

348 C, 3/4 . . . . . . . . . . . . . . .107

349 The Ash Grove (Wales), C, 3/4. . . . .107

350 Haydn, menuet Oxford symphony, C, 3/4 .107

351 folk song, C, 6/8 . . . . . . . . . .108

352 Wach’ Auf, Mein Hort, C, 6/8 . . . . .108

353 La Paloma Blanca (Arizona), C, 6/8 . . .108

354 Holst, Venus theme from The Planets, G,3/4 . . . . . . . . . . . . . . . . . .108

355 folk song, G, 6/8 . . . . . . . . . .109

356 Pergolesi, aria ‘Sancta Mater’ from StabatMater, F, 4/4 . . . . . . . . . . . . . .109

357 Mozart, aria (Papageno) from ‘The MagicFlute’, B[, 2/4 . . . . . . . . . . . . .109

358 Haydn, finale, London symphony, D, 4/4 .109

359 Every Hour in the Day (Georgia), a, 2/4 .109

360 lullabye (Russia), a, 4/4 . . . . . . . .109

361 Feinsliebchen, Du Sollst, a, 2/4 . . . . .110

9

10

Chapter I

Rhythm

The rhythms in this chapter all come from well-known tunes. After reading them, you may want tolook at the titles, which are given in the table of contents. If you’re working with a teacher, you maywish to clap the rhythm twice, with the teacher counting beats the first time, and singing the tunethe second time.

I-1 Whole, Half, and Quarter Notes

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1 , rhythm of Twinkle Twinkle, Little Star 2 , rhythm of Little Brown Jug 3 , rhythm of Bingo 4 , rhythm of

Rain, Rain, Go Away 5 , rhythm of O Come, All Ye Faithful

I-2 3/4 Time, and Dotted Half-Notes

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I-3 Eighth Notes

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I-4 Dotted Quarter Notes

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6 , rhythm of We Three Kings 7 , rhythm of Take Me Out to the Ball Game 8 , rhythm of O Little Town of

Bethlehem 9 , rhythm of We Wish You a Merry Christmas 10 , rhythm of This Old Man 11 , rhythm of Hush

Little Baby 12 , rhythm of Jingle Bells 13 , rhythm of Jimmy Crack Corn

14 Chapter I. Rhythm

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I-5 Sixteenth Notes

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I-6 Dotted Eighth Notes

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14 , rhythm of Away in a Manger 15 , rhythm of Rockabye Baby 16 , rhythm of Home On the Range 17 P.I.

Tchaikovsky, rhythm of trepak from The Nutcracker 18 , rhythm of Alouette 19 P.I. Tchaikovsky, rhythm of waltz of

the flowers from The Nutcracker 20 , rhythm of I’ve Been Working on the Railroad

I-5. Sixteenth Notes 15

I-7 Compound Time

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I-8 Syncopation

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I-9 Triplets

26�>+*>� *�>*�>*�>*�>>>>*�>=*�>*�>*�>*�>>>>*�>� 3 3

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21 , rhythm of Here We Go Round the Mulberry Bush 22 , rhythm of The Itsy-Bitsy Spider 23 , rhythm of Pop

Goes the Weasel 24 , rhythm of Row, Row, Row Your Boat 25 Scott Joplin, rhythm of The Entertainer 26 P.I.

Tchaikovsky, rhythm of march from The Nutcracker

16 Chapter I. Rhythm

Chapter II

Major Keys

II-1 Introduction to Solfeggio

The following syllables are traditionally used for the seven notes of the major scale.

��do

<ti

<la

<so

<fa

<mi

<re

<do

<� �

They originate from the Latin hymn Ut Queant Laxis, in which the first word of each successive mu-sical phrase began on the next note of the scale.

This book uses the movable do system. In this system, ‘do’ is always the tonic, and the other syllablesare assigned to the other notes according to their role in the key. In the key of D, for example:

�//�do

<ti

<la

<so

<fa

<mi

<re

<do

<� // �

This may seem confusing at first, but it’s the only system that makes sense to the ear. For instance,‘ti’ is always a note with a tendency to move up a half-step to ‘do,’ the tonic. (There is also a fixed dosystem, in which ‘do’ is always C, ‘re’ is always D, and so on. The fixed do system is often taught toEuropean schoolchildren, who don’t know enough music theory to recognize the roles of the differentnotes in relation to the tonic in a key that has sharps or flats.)

Sight singing is first and foremost a method of training your brain to understand relationships betweenmusical notes, and is therefore an important component of musicianship even if you consider yourselfprimarily a composer or instrumentalist rather than a singer. For example, a jazz musician improvis-ing a solo on the saxophone needs to be able to imagine a melody, and understand the relationshipbetween the imagined pitches so as to be able to translate them into fingerings. The solfeggio syllablesare a device for making the recognition of the relationships automatic.

Broadly speaking, there are two main approaches to learning solfeggio singing. One can learn to singintervals, or to sing each note according to its role in the key. That is, we can hear each note in relationto the preceding note, or in relation to the tonic. Suppose, for example, that we’re singing a piece ofmusic in the key of C major, and having just sung B, which is ‘ti,’ we see that the next note in themelody is C, which is ‘do.’ In the first approach, we recognize this as the interval of a half-step (minorsecond), so we move to the note a half-step above the one we’ve just sung. In the second technique,we know how to sing ‘do’ because of its special sound in relation to the key: it’s the tonic, the notethat sounds like it would be a good one to end the song on. In reality, one doesn’t use either techniqueexclusively. We might as well ask Shakespeare what he does when he reads words: ‘Mr. Shakespeare,do you use phonics, or do you recognize whole words?’ A fluent reader is actually decoding patternsat a subconscious level, and the process is extremely rapid because most of the patterns are familiar.

Because the goal is rapid recognition of patterns at a subconscious level, one should not expect tobecome a fluent sight singer by artificial devices. For instance, many people learn to recognize theinterval of a major sixth using a tune such as ‘My Bonnie Lies Over the Ocean’ or the NBC jingle.This is a good thing to learn, just as it’s good to learn that an E at the end of a word makes thepreceding vowel long. But a fluent reader doesn’t look at the word ‘sure’ and think ‘silent E makesthe U long.’ Learning the phonics rules is necessary, but having learned them, we actually becomefluent readers through the act of reading large amounts of English.

There is also a pitfall to this technique of learning to hear intervals via a personalized list of familiarmelodies. The leap of a major sixth in ‘My Bonnie’ is a leap from ‘so’ up to ’mi,’ but your brain willprobably refuse to recognize the leap from ‘re’ to ‘ti’ as being the same thing, because ‘re’ and ‘ti’play different roles in the key than ‘so’ and ‘mi.’ Some people learn two melodies, one for ‘so-mi’ andone for ‘re-ti.’ Some might even do another two for the downward leaps ‘mi-so’ and ‘ti-re!’ This justshows that the technique is artificial and not usually very useful.

18 Chapter II. Major Keys

II-2 Melodies Containing Only Steps

In each example, start by identifying which line or space on the staff represents ‘do,’ the tonic. Ifyou have an instrument at hand, play the tonic, and then sing enough notes from the tonic chordto bracket the range of the melody, e.g., ‘do mi so do’ for the octave spanned by the first example.If an instrument is not available, pick a note for ‘do’ that will put the melody in the most comfort-able part of your vocal range. Locate the notes of the tonic chord on the staff to use as reference points.

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29 (>>(>>(>>>>>(>>(>>(>� 4343� =>>

famous tune (identified in the table of contents)

30 >>>>>=�>> :>>>>>>>>>>>>� �� =�>> :>>>>>>>The following example is in a new key: its ‘do’ is the former ‘so.’ If you have trouble convincing yourbrain to switch keys, try singing ‘do re mi fa so’ in the old key, then repeating the last note as ‘do,’and finally singing ‘do ti do’ — with authority!

31 >>== :>>>>=>>=� /43� /43 =

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II-2. Melodies Containing Only Steps 19

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34 >>>>>(=>>>>>>>(� /// ��///� ==>

35 > :>>>>>>�>*�>> :�>>>>>>>*�>>

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

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37 >>>>>>>>>>>>>� 33 ��33� >>>>>>(>(The following five melodies all begin on ‘so.’

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

39 >>>>>>= :>>>= :>>>� 3334343333� =

33 anonymous, carol (Bohemia) 34 J.S. Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’ 35 Pierre Latour,

The Beautiful Angel 36 L.R. Lewis 38 L.R. Lewis


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

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47 L.R. Lewis 48 L.R. Lewis


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II-3 Leaps to ‘Do’

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52 >>>>= :>>>= :">(>>>=>>=>>">(=>=>Adagio=� 3

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II-4 Leaps Back to Remembered Notes

53 > :=*�>*�*>*>>>�>*

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54 � >>==>>>>� >*>=>*>>>=>>>>� /// �///

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55/// =>>*>>>:: >=� >>>>>>>>>� >>>>>>� /// �

� /// =>>>>>>>>>>>>>>>=>>>>>*>///�The following example uses both leaps back to remembered notes and leaps to the tonic.

54 J.S. Bach, Chorale, ‘Seelenbrautigam, Jesu, Gottes Lamm’ 55 J.S. Bach, Chorale, ‘Jesu, meiner Seelen Wonne’

II-3. Leaps to ‘Do’ 25

56 =*>� >>>>>>*>>>>/ *"=*>>>>>>>*>>>� >� / �

� / =>>>>>>>>>>>*"*=>>>>>>>*>>>>*"/�The next tune is easier than it appears, because you only need to return to the same note after eachlow G.

57>>>>>>>>>>>>>>>>>>>>� 4

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57 folk song


II-5 Easy Leaps Within the Tonic Triad

This section introduces leaps of a third, a fourth, and an octave within the tonic triad.


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(France) 62 Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater 63 A.S. Sullivan 64 anonymous,

A Recouvrance (France)

II-5. Easy Leaps Within the Tonic Triad 27

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65 Froebel, Pat-a-Cake 66 anonymous, Carmela (Mexico) 67 anonymous, My Father, How Long? (Florida) 68 J.S.

Bach, Chorale, ‘Es ist gewisslich an der Zeit’ 69 anonymous, Annie Laurie


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70 Martin Luther, We Come Unto Our Father’s God 71 anonymous, Lawlan’ Jenny (Scotland) 72 Stephen Foster,

Hard Times Come Again No More

II-5. Easy Leaps Within the Tonic Triad 29

73 >>> :�>> :>>>>>>>>>>> :=>>

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The following example includes a leap of a sixth, but it’s an easy leap back to ‘do.’

74 >>>>>>>>>>>>>>>>*�>>>>>>Con moto

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This four-part canon includes a leap of a sixth to ‘do.’

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73 H. Burgess Weston, Row, Burnie, Row 74 anonymous, En Revenant d’Auvergne (France) 75 anonymous, Enten-dez-Vous Sur l’Ormeau (France)


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

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78 (� >>> :>>> :>>> :>=� >> :>>> :>>> :3Moderato

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76 anonymous, Dans la Foret Lointaine (France) 77 anonymous, The Beggar Girl (England) 78 Alice Hawthorne,

Home, By and By 79 Froebel, Beckoning the Pigeons

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

II-7 Leaps of a Sixth Within the Tonic Triad

80 � / >> :>>>>>>>>>>42 > :>>

Allegro vivace

>� /42

� / >>>>>>>>>>>>>>>>>(>>>>>/�

81 >>> :>>>>>*�>> :>>>>>>> :>>>>>� /4242

/� =>>>>

82 >>>> :*�>>>>>>> :� 342423� *�>>>>

83 >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>� /4242

/� =>The next example includes both leaps within the tonic triad and leaps to ‘do.’ Because of its widerange, it is given in two keys; make sure to choose a key in which you can actually reach all the notes!

8442 >:::: >*>>>>� >>>>>>>>>>>>/ >>>>>>>>� /42

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

80 anonymous, As-Tu Vu la Casquette? (France) 81 anonymous, Praise, Member (South Carolina) 82 Froebel,

Beckoning the Chickens 83 folk song 84 anonymous, Poor Rosy (South Carolina)


85 >� :::: >*>>>>>>>>>>>>>>>>>>>>>>>42>� 4

2

� ::::*>>>>>>>>>>>>>>>>>*>>>>>>>>>>>>>>>�Another example that includes leaps to ‘do.’

86 = :�>> :>>>>�>> :>= :>= :�>> :>>�>> :�>> :>� 33 ��33� <>

87 >>> :>>>>> :>>>>> :>>> :� // ��//� *�>>>>>> :>>>>> :

88 >>>>>>>>*<>>>(>>>>>>>>>>*� /// ��///� <>>>(>>>Canon for two voices:

89 >(>>(>>(2>>=>�>> :>>>>�>1> :� 33434333� ::::>(>

85 anonymous, Poor Rosy (South Carolina) 86 W.T. Wrighton, The Dearest Spot on Earth 87 anonymous, AbsentDavie (Scotland)

II-7. Leaps of a Sixth Within the Tonic Triad 33

II-8 Leaps Within the Dominant

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


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91 >>>>>>>>>>>>>>� /4343

/� >=>

92 >>>>>>>>>> :>>>:: >*> :>>>>>>>�>> :>>>>>>>�Un poco allegretto

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93 ::::43 (=>>>>�>> :>� >>(=>�>> :>>>>�>

/> :� /

43

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94 � >>>>>>>>/// >>>>>>>>>>>>>42 >>

Moderato

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91 folk song 92 anonymous, Derrier’ Chez Nous il y a Trois Fleurs (France) 93 anonymous, Annchen von Tharau

(Germany) 94 anonymous, Ah! Mon Beau Chateau! (France)


95 >>>>>>>>>>>>>>>>>>>>>>>� /4242

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96 >>>>>>>>>=>>>>=>>>>�4343� =>

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98 //43 >== := :>== :>=>>>>� == := :>Hell und freudig

=� //43

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99:>>>= :>>>�>>> :>>>�

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100 >>>>>>>>>=>>>>>>>>>>>>>>>� /4242

/� ::::>>>>>>>>>

101 >>>� >>>>(=>>>>� >>�>> :>>>>>>>>� /// � <>/// >>>>>>>*>>

95 anonymous, Ainsi Font, Font, Font (France) 96 John Husband, Revive Us Again 97 W.A. Mozart, aria (Papageno)

from ‘The Magic Flute’ 98 anonymous, Schonster Schatz, Mein Engel 99 anonymous, Down in the Valley 100

anonymous, Musieu Bainjo (Louisiana) 101 anonymous, Brother, Guide Me Home (Tennessee)

II-8. Leaps Within the Dominant 35

102 >>=>>===>>>>>>==>>>>>>>(===>>>� 33 ��33� "=<3 3 3 3 3

103 �>> :>>�>> :> :>�>> :>� /4343

/� (>> :>

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107 �� >>>>=/ >>>>>>>>>>=>>>� / �

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102 anonymous, Serenata (California) 103 W.A. Mozart, adagio from string quartet # 1 104 J.S. Bach, Chorale, ‘Es

spricht der Unweisen Mund wohl’ 105 Nikolaus Beuttner, Es kam ein treuer Bote 106 J.S. Bach, Chorale, ‘Valet will

ich dir geben’ 107 J.S. Bach, Chorale, ‘Wie bist du Seele in mir so gar betrubt’


108 33 >>>:: >"=>>�>� >�>>>>>>>>� >>>Allegretto con grazia>� 33 �

� 33 <>>�>>�>>>>>>>>>>>:: >"=>>> :�>>>>>>33�

109 > :>>>>>>>>>=>>>> :>>>>>>>>� ///4242

///� =>>>

110 >>>>>>>>> :>>>>>>� /8484

/� ( :+�>>>

111 � ::::<=/ >>>>>>=>>>>>>>� / ��

� / <=>>>>>>>>>>>>>>/�

112 >>>>>>>>>>(>>>>>>>>>>>>>>>>� /4343

/� �>>>>>>>>

113 ::// ::>=>>>>>� >>>>>>>>>� // ��

108 anonymous, Gardez Piti Milatte-la (Louisiana) 109 anonymous, Shout On, Children (Georgia) 110 Franz Schubert,

Wohin? 111 J.S. Bach, Chorale, ‘Liebster Jesu, wir sind hier’ 112 Franz Joseph Haydn, menuet Oxford symphony 113

J.S. Bach, Chorale, ‘Mach’s mit mir, Gott, nach deiner Gut’


� // >>>>>>>>>>>>>>>>>//�

114 > :>>*�>>�>>�>>>>� 8

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115 >>>>>>>>>=>>>>>> :>>>> :>>>> :� //4343

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114 Franz Schubert, Halt! 115 Gustav Holst, Venus theme from The Planets 116 anonymous, Serenata (California) 117

anonymous, If Your Foot Is Pretty, Show It (United States)


� / >/ :� *>>>>>>> >>>�>*" :>�>> > : >>> �>


II-9 Wider Leaps Within the Dominant

This section introduces leaps within the dominant as broad as a sixth. Leaps of a seventh are deferreduntil section IV-5.


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120 anonymous, Aux Marches du Palais (France) 121 J.S. Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’ 122

anonymous, Arlequin Tient Sa Boutique (France) 123 anonymous, Ballade de Roland (France)


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124 folk song 125 anonymous, Tu Eres Mas Bella (Costa Rica) 126 anonymous, Praise, Member (South Carolina)

II-9. Wider Leaps Within the Dominant 41

127 3 �>>�>>�>>�>>�>86 >> :�>>�>>

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127 anonymous, Wach’ Auf, Mein Hort 128 anonymous, Barbara Allan (Scotland) 129 Franz Joseph Haydn, finale,

London symphony 130 anonymous, Dans Notre Jardin (France) 131 anonymous, The Gypsy Warning (Missouri)


132 �3 > >� > > >� > > > > >Lebhaft, doch zart

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132 anonymous, Jungfraulein, Soll Ich Mit Euch Gehn 133 Richard Strauss, Not Yet 134 anonymous, Ah, Suzette, Chere

(Louisiana) 135 anonymous, La Paloma Blanca (Arizona)


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136 Franz Schubert, Das Wandern 137 anonymous, Chill Ether (Scotland) 138 folk song 139 folk song


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140 J.S. Bach, Chorale, ‘Nun ruhen alle Walder’ 141 J.S. Bach, Chorale, ‘Wenn wir in hochsten Noten sein’ 142

anonymous, The Duke of Argyle’s Courtship (Scotland) 143 Harold Samuel, The Fairy Boat


144 >>3 >>�>>�>>>>>�>*>>42 >>>�>>�>>>>>�Anmutig

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145 >">>>>>>>2((>>>(>>>>= :=:: =1>� 33 ��33� ::::>>=>>>

144 anonymous, Gar Lieblich Hat Sich Gesellet


Chapter III

Minor Keys

III-1 Solfeggio in the Minor Mode

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

�333�do

<re

<me

<fa

<so

<3le

<3te

<do

<do

<2ti

<2la

<so

<fa

<me

<re

<do

<� 333 �

This system has the advantage that most of the notes have the same functions as in the major mode.‘Do’ is still the tonic, ‘so’ the dominant, ‘ti’ the leading tone, and so on. In this system, the names ofthe notes stay the same when switching between the parallel major and minor.

Others prefer this:

�333�la

<ti

<do

<re

<mi

<3fa

<3so

<la

<la

<2si

<2fi

<me

<re

<do

<ti

<la

<� 333 �

This system highlights the relationship between the minor and its relative major.

If you don’t have a teacher who wants you to use one system or another, I suggest you use the firstone, because it lets you recycle many of the patterns you’ve learned in minor. For instance, ‘so-ti-do’is still a formula for a cadence.

In both systems, the vowel ‘i’ is used for a sharpened note, and ‘e’ for a flattened one. The chromaticscale looks like this:

��do

<ti

</li

<la

</si

<so

</fi

<fa

<mi

</ri

<re

</di

<do

<� �

�so

3le

<2la

<3te

<ti

<�do

< 2do

<3ra

<2re

<3me

<mi

<2fa

<3se

<2<

The important thing is to pick a system and learn it thoroughly. (I use my own enharmonic systemin which the chromatic scale is ‘do gu ri bu mi fa ka so ja la pa ti do.’)

48 Chapter III. Minor Keys

III-2 Steps

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

146 >>>>>>=>>>>>>>>>>>>>Poco a poco accelerando

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148 >>>�>>>�>>>>�>>>�Largo

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

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Largo

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150 >>>2>>=/>/>>>2>>/>>>>>>>>� �� =>>>>>>>/>/>

151 >>>/>/>>>2>>>>/>>>>>>>� 4343� (=>>>

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150 L.R. Lewis 151 L.R. Lewis 152 L.R. Lewis

III-2. Steps 49

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154 �3� =/>>>>/>2>=>>>>>>� 3 �

155 >/>2>>>>>>>>>>>(>>>/>>>>>>>>>>>>� 343433� (=/>2>>>3>2>

156 >=<3=2==/=23 </=2=>>=<===� 323� 3 (===>

157

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III-2. Steps 51

III-3 Leaps Within the Tonic Triad

158 >>>=(>=>>=(>=>>=(>=2>>� 333 ��333� =(>>

159 >>(>>>(>>>(>>>(>>>(>>>(>� 333 ��333� <>>(>

160>>>>>2>>>= :>>>>>>>>>>>>>>� 333 4

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161 �333� =�>3

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

163 (� 2>(>>>>>>>=� >>>>>>>>333 >� 333 �

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160 G.A. Wedge 161 Who Got Dirt on the Carpet Again?


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165 =2>>>>>>>>=>>>>>>>>>� 333342423333�

166 > >>>>>>>>>>>>>>>>>>>>� 333342423333� =

167�>> :"(>=>3>>2>2>>>>>� 3333 ��3333� = :

168 � /=� =>>>>==>>>/>/==/>/>>>� �

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169 >>>>>>>>>>>>>>>>>>>>>> :>>>�>� /4242

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170 :>� >43 :> >� > > :> > > > > > :> > > :> > > >43 > = :> > > >

164 G.A. Wedge 165 G.A. Wedge 166 G.A. Wedge 168 J.S. Bach, Chorale, ‘Herr, nun lass in Friede’ 169 anonymous,

Every Hour in the Day (Georgia) 170 anonymous, Forget na’, dear Lassie (Scotland)

III-3. Leaps Within the Tonic Triad 53

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171 >>>>>=>>>>>>=>/>>>>� 33 ��33� = :/>famous tune (identified in the table of contents)

172 >>W>>(>W>>>>>>>>>� 33 ��33� >W>W>>>W>Round:

173 >2>>>3>>>>2

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171 J.S. Bach, Chorale, ‘Es steh’n vor Gottes Throne’ 173 anonymous, Thou Poor Bird


III-4 Leaps Within the Dominant

174 >43

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175 =/>>>>>>>>>=>>>>>>>>>� 33424233�


176 >/>>>>>>>>>>==>>/>>>>==>>Andante

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178 >>>>>>>/>>>=>/>>>>>>>>>>>� 33434333� =>>/>>

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174 G.A. Wedge 175 G.A. Wedge 178 G.A. Wedge 179 G.A. Wedge

III-4. Leaps Within the Dominant 55

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181 >>>>>>>>>><>>>>>>�>> :>>�>Largo> :� 333333 ��333333� <>>>>>>

182 >>/>42 >>>+>>>>>>� >+>>>>>>>+� /42

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185 � 33 �>>�>>>>>�>>�>>>83 >> :>/>>>>>�Draengend, doch nicht schnell

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186 >2>>>>>>>>>>> :>>>> ::>>� 333 812 > :> :>>� 2> ::>>>>>>>>333 >>>>>>>>>>>812

180 G.A. Wedge 181 anonymous, lullabye (Russia) 182 anonymous, Las Tristes Horas 183 G.A. Wedge 184 Froebel,

The Wolf 185 anonymous, Guten Abend 186 J.S. Bach, Gavotte II from cello suite # 5


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191 >/>>>>>>(=>>>>>>>>>>>>>� �� =�>> :>>>>

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187 anonymous, Lolotte (Louisiana) 188 W.A. Mozart, menuet from string quartet # 15 189 anonymous, Los Ojos

Mexicanos (Mexico) 190 Maude Valerie White, Ophelia’s Song 191 J.S. Bach, Chorale, ‘Nun sich der Tag geendet hat’192 anonymous, Reir Es Necesario (Mexico)


193 �� > =� > > =333333333333 >� > > >> > >Allegro marziale

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194 � >>> :>>>>>�>> :>>3 >*�>>>> :>>>>>�>4

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195 > :>>*�>>>/>>�>>>>� 8686� ( :�>

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197 �>> :�>*((/>>>>�>

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193 anonymous, En Avant, Grenadiers! (Louisiana) 194 anonymous, Angel de Mis Amores (Mexico) 195 Franz Schubert,

Am Feierabend 196 J.S. Bach, Chorale, ‘O Traurigkeit, o Herzeleid’ 197 Johannes Brahms, Nachtwache 1


198 = := :/ �>> :>>=�>> :(= :�>> :>= :�>> :(= :�>> :>= :� ////4343

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200// >� = :>>>>:: >= :>>>>>>>� �>> :>>>>>� // �

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201 � >/>33 >>>>>>>/>>>>>>84 >>>>>>� 3384

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198 anonymous, Mi Sueno (Mexico) 199 J.S. Bach, Chorale, ‘O Haupt voll Blut und Wunden,’ from St. Matthew’s Passion200 J.S. Bach, Chorale, ‘Von Gott will ich nicht lassen’ 201 G.A. Wedge


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202 G.A. Wedge 203 G.F. Handel, aria ‘O Jordan, Sacred Tide’ from Esther



204 33 �33� >Lento

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Chapter IV

Other Diatonic Materials

IV-1 Leaps Between the Tonic and Dominant

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

205 >>>>==>>>>>>>>>=>>>>=� /4242

/�

20643

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

>� 333343

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

207 >>>*>>>>>>> :>>>>>> :>>>>>� /4242

/� (*+�>>>>>>>>>

The next three use leaps of a diminished fourth, an interval which sounds like a major third, and istypical of minor keys.

208 >>=>>=>>=>>>>>>>=>>=>>� / ��/� =/=>>>

205 anonymous, Ya Viene El Alba (California) 206 Alessandro Scarlatti, Gia il Sole dal Gange 207 Franz Schubert,

Danksagung an den Bach 208 Grieg

209 � //= :>>>>=>=>=>>4

3 >/>== :� /43

� / = := :>>>>>>= :/=>/>=>>>>/=/�

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

209 anonymous, zandunga folk song (Southern Mexico) 210 Giulio Carcini, Amarilli, Mia Bella

64 Chapter IV. Other Diatonic Materials

IV-2 Leaps Within the Subdominant, Major Keys

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

21143 >� >>>>>>>>*>>=>3 >>>>*>>>>>>� 343

� 3 =>>>>>>>>>>>>*>>=>>>>>>=>>>>>=3�

212 =>>>>*>>>>>>>=>>>>>>>>>>>>>>

Allegro>� 4343� =>>>>>>>>>>

More commonly, the melody leaps into or out of ‘la’ without spelling out the subdominant chordexplicitly. Although dominant harmony can often be implied strongly with only one or two notes, thisis not usually true of the subdominant, because of its weaker character. Since thirds are the mostcommon leaps, the most important new leaps to learn to sing are the ones between ‘do’ and ‘la’ andbetween ‘fa’ and ‘la.’ This melody leaps from ‘do’ to ‘la:’

213 >>>>>>>*>>>>>>�>*>

*>>>>>>�>*>>>>>>>�>� 342423� *>>

This one jumps from ‘la’ to ‘fa:’

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211 anonymous, Jehovah, Hallelujah (South Carolina) 212 anonymous, Arlequin Marie Sa Fille (France) 213 folk song214 folk song

IV-2. Leaps Within the Subdominant, Major Keys 65

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A great deal of Scottish folk music uses a major scale that omits ‘ti.’ ‘Fa’ is sometimes left out aswell, forming a five-note, or pentatonic, scale. Once one’s ear adjusts to the sound of the scale, thecharacteristic leap between ‘do’ and ‘la’ no longer sounds like a leap at all. Of the following twoexamples, the first is pentatonic, while the second uses the full major scale. The first example hasbeen notated with the style’s typical elaborate ornamentation, which you may wish to ignore.

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218 anonymous, Da Unten Im Tale 219 anonymous, I Want To Be Ready (United States) 220 G.B. Fasolo, Cangia,

Cangia Tue Voglie 221 anonymous, The Ash Grove (Wales) 222 W.H.C. West, The Jenny Lind Mania (United States)223 anonymous, Au Jardin de Mon Pere (France) 224 Richard Strauss, Devotion


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225 anonymous, I Ride an Old Paint (United States) 226 G.F. Handel, aria ‘Hush ye pretty warbling quire’ from Acis and

Galatea 227 Thomas Tallis, If Ye Love Me 228 anonymous, Sinner Won’t Die No More (Tennessee)


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229 W.A. Mozart, opening from clarinet quintet 230 anonymous, The Gold Band (Tennessee) 231 Giovanni Battista

Pergolesi, tune from Stabat Mater


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232 anonymous, Bonnie Wee Window (Arkansas) 233 J.S. Fearis, Beautiful Isle of Somewhere 234 anonymous, Red

River Valley 235 anonymous, I’m In Trouble (Florida) 236 Franz Joseph Haydn, introduction, London symphony 237

anonymous, Cowboy’s Home Sweet Home (Arkansas)


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238 anonymous, Calinda (Louisiana) 239 anonymous, The Braes O Yarrow (Scotland) 240 W.A. Mozart, andante from

string quartet # 2 241 anonymous, The Wild Moor (Missouri) 242 Johannes Brahms, introduction, 1st symphony


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10 246 anonymous, The Hallowed Spot (Missouri)


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247 anonymous, folk song (Russia) 248 anonymous, The Ship That Never Returned (Missouri) 249 Pier Domenico

Paradies, M’ha Preso Alla Sua Ragna


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250 anonymous, Die Sonne Scheint Nicht Mehr


IV-3 Wide Leaps Within the Subdominant

251

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251 W.A. Mozart, presto from string quartet # 4 252 J. Ellor, Diadem 253 W.A. Mozart, rondo from string quartet # 6254 anonymous, Adieu, Bonne Hotesse (France)

IV-3. Wide Leaps Within the Subdominant 75

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255 anonymous, Derriere Chez Moi (France) 256 Stephen Foster, The Song of All Songs


IV-4 Leaps Within the Subdominant, Minor Keys

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257 G.A. Wedge 258 G.A. Wedge 259 G.A. Wedge 261 anonymous, Hanukah O Hanukah

IV-4. Leaps Within the Subdominant, Minor Keys 77

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262 anonymous, Vivo Llorando la Suerte (Mexico) 263 W.A. Mozart, Osanna (bass solo, allegro) from Sanctus, Requiem264 J.S. Bach, trio from Brandenburg concerto # 1 265 anonymous, Que No Te Amo (Mexico) 266 anonymous, folk song

(Russia)


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267 anonymous, folk song (Russia) 268 anonymous, Entre Vous Tous Gens de la Ville (France)

IV-4. Leaps Within the Subdominant, Minor Keys 79

IV-5 Leaps of a Seventh

With leaps of a seventh, as with any very broad leap, the most common problem is simply theinability to reach the note. Make sure to sing each example in an appropriate key. If the leap of aseventh is upward, find the lowest key in which you can comfortably sing the lowest note of the melody.

A factor in the sight-singer’s favor is that the most difficult leaps to sing are usually the ones thatare ugly as well, and therefore composers don’t write them; in real music, most leaps of a seventhoccur in certain special contexts that make them both easier to sing and more acceptable to the ear.Although it is possible to memorize the sounds of the minor and major seventh leaps and sing themon demand, that’s a fundamentally unnatural way to think about melody; keep in mind that most ofthe examples in this section are folk songs created by people who were illiterate, and probably couldnot have performed such a trick themselves.

Another technique for use when all else fails is to imagine the seventh as a downward step, with thesecond note moved up an octave. In all the following examples, however, we’ll see that there are bettersolutions arising naturally from the logic of the melodic line.

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

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

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269 W.A. Mozart, menuet from string quartet # 8 270 C. Hess, Little Charley Went a Fishing 271 folk song


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

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The next example has a leap of a seventh as part of a dominant seventh chord. It resolves downwardto ‘mi,’ and this ‘fa-mi’ relationship is one of the most prominent landmarks of the key, so you mayfind that the easiest way to hit the ‘fa’ is simply by locating ‘fa-mi.’

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This tune, like the preceding one, uses the familiar ‘so-fa-mi’ pattern. The leap is also made easierbecause we’ve just sung ‘fa’ in the low register, and because, looking ahead, we anticipate the de-scending scale ‘fa-mi-re-do.’

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272 anonymous, Carmela (Mexico) 273 W.A. Mozart, menuet from string quartet # 1 274 anonymous, Gwine Follow(South Carolina)

IV-5. Leaps of a Seventh 81

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Another ‘so-fa-mi’ example. The ‘fa’ is heard as part of a logical progression of prominent high pointsin the line.

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275 Felix Mendelssohn, aria ‘If with all your hearts ye truly seek me’ from Elijah 276 anonymous, Widdecombe Fair

(England) 277 anonymous, Walk, Shepherdess, Walk (Arkansas) 278 anonymous, Reir Es Necesario (Mexico)


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279 anonymous, folk song (Russia) 280 anonymous, A Quinze Ans (France) 281 W.A. Mozart, menuet from string quartet

# 8 282 W.A. Mozart, presto from string quartet # 7

IV-5. Leaps of a Seventh 83

IV-6 Other Perfect Fourths and Fifths

We’ve already sung leaps of a fourth and a fifth within the tonic, dominant, and subdominant chords,and those leaps strongly implied their chords. For instance, it’s difficult to hear the ‘so-re’ leap withoutperceiving a dominant chord. Although other leaps of a fourth or a fifth may imply other triads, inreal music they are more commonly produced not by the harmony but by the logic of the melodyitself. In the first example, the composer simply wants to repeat a molodic idea at a different pitch.The ‘la’ is easily sung by thinking of it in relation to the ‘do’ it leads up to.

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

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283 W.A. Mozart, opening from string quartet # 4 284 folk song 285 anonymous, La Rana (Mexico)


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286 Charles K. Harris, After the Ball 287 A.S. Sullivan, Take a Pair of Sparkling Eyes 288 A.S. Sullivan, Sing Hey to

You, Good-Day to You! 289 Stephen Foster, Slumber My Darling

IV-6. Other Perfect Fourths and Fifths 85

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quartet # 1 292 W.A. Mozart, trio from string quartet # 1 293 Franz Abt, Kathleen Aroon 294 Attributed to Guiseppe

Giordiano,, Caro Mio Ben


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295 anonymous, Remon (Louisiana) 296 anonymous 297 Giovanni Battista Pergolesi, aria from Stabat Mater 298 J.S.

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

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306 anonymous, O Daniel (Florida) 307 J.S. Bach, Invention 2 308 W.A. Mozart, andante un poco allegretto from stringquartet # 5


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309 Abraham Goldfaden, Raisins with Almonds

IV-7. The Diminished Seventh Chord, and the Harmonic Minor Scale 91


Chapter V

Nondiatonic Materials

V-1 Secondary Dominants and Lower Neighbor Tones

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313 anonymous, Autrefois le Rat de Ville (France) 314 W.A. Mozart, aria from the Magic Flute 315 anonymous, Let

God’s Saints Come In (Virginia) 316 anonymous, Vivo Penando (California)

94 Chapter V. Nondiatonic Materials

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317 anonymous, Allan Maclean (Scotland) 318 Alessandro Stradella, Ragion Sempre Addita 319 anonymous, Dans le

Port, Il Est Arrive (France) 320 George F. Root, Brother, Tell Me of the Battle

V-1. Secondary Dominants and Lower Neighbor Tones 95

321/ >>>/>>>>>� >>>>>>>>>>� > :>>> :� / �

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

3224343� :=: > >= > > > = >� > > > >� * > > > > > > = ( > > > (

�� >>>>>>= :/>>>>>>>>>>>/>=>>>(>>>

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

323 � :>� / �/ > > > > > > >> >� > > > > > => :> >� > > > >�

/� /� >>>>>>>>>>>>=>>>>>>>>>>

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

321 J.H. McNaughton, The Faded Coat of Blue 322 W.A. Mozart, menuet from string quartet # 1 323 Franz Joseph

Haydn, adagio poco cantabile from string quartet, Op. 73, #3 (‘Emperor’)


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

324// Moderato

42� > >> > > * > > > > >> > * >�42 > > > > *// >�� > > =*

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

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

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

325 � 333 >>>>>>�>> :>2>�>*>42

>>>>>>>>Slowly

>� 33342

� 333 =>>>>�>> :>>�>*>>>3>>>�>*=>>�>*333�

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

324 anonymous, Crepusculo (Mexico) 325 anonymous, Media Noche (California) 326 Giovanni Battista Pergolesi, tunefrom Stabat Mater


� 3333 >>>>>>>*>>2>>>>>>>>>2>>*>>2>>>>3333�

� 3333 = > W> = >2 :> > > W> > = :> >� <� 3333 >2 >

327 �//� ::::= :>>>>>>>>>>>>>>>/>>>>>>>>>/>>� // �

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

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

32843

�>> :� >>�>*=>> :>>>333 >> :=>>

�>> :>>�>� 33343

� 333 =>>>> :>>>�>> :>>�>> :>3>>�>> :>>333�

329�>>>>�>> :>>=2>>2 �>> :>>*

�>>>>�>> :>Moderato

>� 3333 ��3333� =�>> :> :�>>>*

327 J.S. Bach, Bourree II from orchestral suite #2 328 anonymous, The Cruel Mother (England) 329 Alice Hawthorne,

Out of Work


330 >> > > >42� 42 > > >� > >

Not fast

> >� > > > > > > > > >� = >� > >� >

� >>>>>>>>>>>>>�>>�>=>>/>>>>�

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

331 > =� 43

/� =/ Tempo di valse

43

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

� /=>>=� /

>>>= :>=>=>>>= :>=

� //� /> >> = > > > > = >/> = > >

( (=

33243 >>>>>>>� >>>�>> :>>>(>>3 >>>>>>>>>�>> :>>>� 343

330 Scott Joplin, The Easy Winners 331 Gus Edwards, In My Merry Oldsmobile 332 anonymous, Erlaube Mir, Fein’sMadchen


� 3 ((>>>>>�>> :>>�>> :>>>>(>>>>2>�>> :>>�>> :>>>(>3�

333 � > > > >/ :> > > >43 > > > >/ >� > > > > >>43 > > > >

� >/ > > > >

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

� /� / >>> :>>>>>>= :>>>>>�>> :>>>>>>

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

334 �� =Maestoso

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

�� (= :>>>>==>>>>>>(= :�>> :>>

� >> ==�>> :=(= :�>/> :� >>>==>>>>/

333 J.S. Bach, Menuet I from orchestral suite #1 334 G.F. Handel, chorus from ‘Judas Maccabaeus’


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


V-2 Blue Notes

335 � >3 >>>3>>>*>>�>> :>>42 > :>>>>>>� 342

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

336 ::42 *>>>>/>>2>>� >>2>>>>>>2>>// >>> ::>>>>>> :>�>� //42

� //:: ::::*>>>>>>>>>>>>>>> :2 �>>�>>>>> :�>*>>>>> :2 �>:: //�

337/// >> :�>>>>>

43 >=�>>=�>>>>/�>2>� =>>>>>� ///43

3

3 3

� /// = :>>>>>>>>>=>> :�>/�>2>=>>>>�>>"///�3 3

338 > >/ �/� >Moderately, not too fast

�� > > > > > = < >= > > > >> > > > >/� /� >>>><==>>>>>>>><==

335 anonymous, The Graveyard (South Carolina) 336 anonymous, Roll, Jordan, Roll (United States) 337 anonymous,

Cyclone at Ryecove (Missouri) 338 James Reese Europe, Goodnight Angeline


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

� / > >>>>>>>>>>> :�>>>:�>>>>>� /

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

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

339 <3333 �3333� >Moderato

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

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

� 3333 >� = : <>= :> :�>>>>>=�>3>�>>> :3333 >> :2>> :>> :>

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

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

V-2. Blue Notes 103

V-3 Relative Minor and Major

34043 >>>>>>>� >2>(=/>>>>>>>>33 > :=>

Nicht zu langsam und mit inniger Teilnahme

> :� 3343

� 33 = :/>>>>=>/> :=>> :>>>>>>> >33�

341 > >*>�>>�>>>>>>>>>>>>>�>>�>>�>>/>>>�>>�In ruhiger Bewegung

>� //8686

//� >> :>>>>>>>>>�>

342 � 3333 ==>>>>>>>>>>>>>>42 >>>

Lullabye, andante con espressione

>� 333342

� 3333 ::::=>>>>>>>>>>>d>>>d

>>:::: >(>3333�

343 � >>>>>:: >= :>� >>>>>>=>>>// >>� // �

� // = :>>>>>>>=>>>>>= :>>>>>>= >//�

344 3 >>(=>>>� >>>>>>>>>� >=>>>� 3 �

340 anonymous, Schwesterlein 341 anonymous, Es Ritt ein Ritter 342 anonymous, Cradle Song (Sweden) 343 J.S. Bach,

Chorale, ‘Befiehl du deine Wege’ 344 J.S. Bach, Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’


� 3 = :/>>>>>>=>>>>>>=>>>>3�

345 � (>�>> :>>>>>>>>>>>2>>>42 >>/>>>>�Heimlich und zierlich bewegt

>� 42

� *>/ �>> :>>>>>>>>>>>>(>>>>�

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

�>> :>>>>>� / �

� / >>>>>>/>>>>2>2

�

>>(>/>/>>>>>>>2>>/>>>>(>>>>>>/�

345 anonymous, Feinsliebchen, Du Sollst 346 J.S. Bach, Chorale, ‘Gib Dich Zufrieden und Sei Stille’

V-3. Relative Minor and Major 105


Chapter VI

The C Clef

This chapter recapitulates some melodies from earlier chapters, using the C clef. The clef indicatesmiddle C. In modern music, the C clef is used almost exclusively for the viola, but it will also beencountered in older scores, both vocal and instrumental, as an equally important companion to thetreble and bass clefs. The C clef is a movable clef, but the examples in this chapter are all given withC placed at the middle line. Sight-singing from the C clef is not difficult, because one merely followsthe usual procedure of determining which line or space on the staff represents ‘do,’ and reading allother notes relative to it. A trick for instrumentalists is to imagine that the middle line is really theledger line for middle C on the grand staff, while the top two lines belong to the treble clef, and thebottom two to the bass clef. (The same trick can be handy for vocalists when using the key signatureto find the tonic on the staff.)

347 >= :>>=>=>>= :>>=� �� <

348 (>>(>>(>>>>>(>>(>>(>�4343� =>>

349 >>>>>>>>>>>>>>>>>>>>>>�4343� =>>>>>

350 >>>>>>>>(>>>>>>>>>>>>>>>>�4343� �>>>>>>>>>>

351 � *>�>>>>>�>>�>(*>�>>>86 >>*>�>>>>>�>>�>�86

349 anonymous, The Ash Grove (Wales) 350 Franz Joseph Haydn, menuet Oxford symphony 351 folk song

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

352 � �>>�>>�>>�>>�>>> :�>>

�>>�>>

�>86 >�>>

�>>�Mit kraeftiger Leidenschaft

>�86

� >> :�>>�>>�>>�>>�>>

�>>�>>�>>�>>> :�>>

�>>�

3538686� >� >� > >� > ::>� > > * > >� > > > > >� :> ::

�� >>>>>>>>*>�>>>>>>>>>>>>* >�>>>>

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

354 >/ >>>>>>>>>>>=>43 >>>>> :>>>> :>� >>> :� /43

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

352 anonymous, Wach’ Auf, Mein Hort 353 anonymous, La Paloma Blanca (Arizona) 354 Gustav Holst, Venus themefrom The Planets

108 Chapter VI. The C Clef

355 � �>>�>>�>>�>

/ >�>>�>>�>(> :�>>�>>�>86 >�>>�>>�>>�>� /86

� / ( :> :�>>�>>�>>�>>

�>>�>>�>(> :�>>�>>�>>�>>

�>>�>>�>(> :/�

356>=>>>>>>*>>*>>= :>><<� 3 ��3� >>>

�>> :>>

357 >> :>>>>>>>>>>>>>� 33424233� �>>>>> :

358 >>=>>=>>==>>>>>=>>=>>� // ��//� ==>>>

The following three examples are in the minor mode.

359 >>>>>>>>>>>>>>>>>>> :>>>�>�4242� >/>>>>>>>>

360 >>>>>>><>>>>>>�>> :>>�>Largo

> :� �� <>>>>>>>>>

361 � (>�>> :>>>>>>>>>>>2>>>42 >>/>>>>�Heimlich und zierlich bewegt

>�42

355 folk song 356 Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater 357 W.A. Mozart, aria (Papageno)

from ‘The Magic Flute’ 358 Franz Joseph Haydn, finale, London symphony 359 anonymous, Every Hour in the Day

(Georgia) 360 anonymous, lullabye (Russia) 361 anonymous, Feinsliebchen, Du Sollst

109

� *>/ �>> :>>>>>>>>>>>>(>>>>�


Thematic Indexddddddtl — p. 22, no. 48dddddrmf — p. 21, no. 45dddddtdr — p. 23, no. 49ddddmdss — p. 83, no. 282ddddmfsl — p. 50, no. 157ddddmsff — p. 35, no. 101ddddffff — p. 38, no. 116ddddslsd — p. 30, no. 74ddddsltd — p. 22, no. 46; p. 22, no. 47ddddtltd — p. 23, no. 50dddrrmmf — p. 19, no. 29; p. 107, no. 348dddmdsmm — p. 53, no. 169; p. 109, no. 359dddmmssm — p. 81, no. 274dddmssll — p. 67, no. 219dddsmmrd — p. 57, no. 188dddsllls — p. 65, no. 212dddsltdt — p. 93, no. 310ddrdmfss — p. 31, no. 78ddrrmmrd — p. 30, no. 75ddrmrdrr — p. 28, no. 68ddrmrrmr — p. 87, no. 297ddrmrmfm — p. 45, no. 141ddrmmrdf — p. 68, no. 227ddrmmmfs — p. 26, no. 56ddrmfsss — p. 36, no. 105ddrmfssl — p. 67, no. 223ddmrdrrm — p. 29, no. 70ddmmrmdd — p. 27, no. 61ddmmmdts — p. 37, no. 109ddmsltdt — p. 53, no. 167ddsdrmfs — p. 79, no. 268ddtdrdrm — p. 25, no. 54ddtlsdrm — p. 36, no. 104ddtltdrm — p. 89, no. 304ddtltlls — p. 25, no. 51drddtdrm — p. 20, no. 36drdrdrmr — p. 49, no. 146drdtdsdr — p. 86, no. 291drdtlsls — p. 19, no. 32drmdrmrm — p. 52, no. 163drmrdtdr — p. 49, no. 152drmrmfmf — p. 19, no. 28; p. 107, no. 347drmrmfsf — p. 19, no. 31drmrfmrt — p. 96, no. 323drmmmrfm — p. 84, no. 283drmmmmsm — p. 29, no. 72

111

drmmmsrr — p. 42, no. 130drmmfsds — p. 54, no. 173drmmflss — p. 67, no. 218drmfrmdm — p. 57, no. 190drmfmrdt — p. 49, no. 150drmfmrmf — p. 20, no. 37drmfmfsl — p. 21, no. 44drmfsmfs — p. 44, no. 138drmfsfsl — p. 90, no. 305drmfssfm — p. 37, no. 113drmfsssf — p. 20, no. 33drmfslsf — p. 49, no. 147drmfslss — p. 56, no. 184drmfslsl — p. 50, no. 154; p. 50, no. 156drmfsltd — p. 19, no. 27drssmddf — p. 73, no. 248dmddmssl — p. 53, no. 164dmdmsffm — p. 28, no. 67dmdsdmsd — p. 27, no. 58dmdslfmf — p. 100, no. 333dmdtdrmm — p. 54, no. 171dmrdmfst — p. 59, no. 198dmrdssms — p. 32, no. 83dmrsdmrs — p. 56, no. 181; p. 109, no. 360dmrtdmrt — p. 75, no. 251dmmmrfff — p. 63, no. 205dmmflssm — p. 70, no. 237dmsdmssm — p. 32, no. 80dmsdlsdd — p. 66, no. 216dmsdtdrm — p. 55, no. 174dmsrdrmm — p. 44, no. 137dmsmrflf — p. 90, no. 308dmsmmddt — p. 58, no. 193dmsmfrfr — p. 87, no. 295dmsmslsf — p. 52, no. 161dmsfslsf — p. 93, no. 312dmssdtrr — p. 66, no. 217dmssdtls — p. 28, no. 65dmsssmfs — p. 27, no. 59dmssssfm — p. 91, no. 309dmsslfsd — p. 65, no. 214dmslsddr — p. 35, no. 95dmslsmss — p. 35, no. 98dsdrmfsf — p. 53, no. 165dsdsdsdm — p. 34, no. 90dsdtdsmr — p. 56, no. 180dsmdrmrt — p. 102, no. 338dsmdslsm — p. 52, no. 159


dsmdslst — p. 77, no. 259dsmrdrmd — p. 53, no. 166dsmrdrmf — p. 27, no. 62; p. 109, no. 356dsmrdlsf — p. 77, no. 258dsmrmfmr — p. 94, no. 313dsmsmdrm — p. 38, no. 118dsfmddsf — p. 55, no. 179dssdddfl — p. 104, no. 342dssfrdtl — p. 80, no. 269; p. 83, no. 281dssfsfmr — p. 72, no. 244dsssslls — p. 46, no. 144dsslsmrd — p. 55, no. 175dsslsfmd — p. 34, no. 91dssltddm — p. 36, no. 106dslsfmrd — p. 76, no. 256dsltdrms — p. 95, no. 318dsltdmfs — p. 33, no. 89dtddddrm — p. 52, no. 158dtdrrdrm — p. 20, no. 34; p. 40, no. 121dtdrmfsl — p. 49, no. 149dtdrmsfm — p. 98, no. 327dtdrmslt — p. 90, no. 307dtfmdsls — p. 78, no. 263dtlsfmrd — p. 50, no. 153dtlsfmms — p. 67, no. 220dtlslsfm — p. 68, no. 226; p. 86, no. 294rddrmrdr — p. 49, no. 148rmfsdmrd — p. 42, no. 131rsdsdddd — p. 70, no. 233mdrmfsfm — p. 45, no. 140mdrmfsss — p. 87, no. 298mdmrdtrs — p. 58, no. 197mdmrsmrd — p. 55, no. 176mdmfmrdl — p. 77, no. 257mrdddttl — p. 28, no. 69mrddrdtd — p. 35, no. 97; p. 109, no. 357mrddmmsr — p. 57, no. 187mrdrmrdm — p. 85, no. 289mrdrsmdr — p. 37, no. 111mrdmrddl — p. 65, no. 215mrdmssms — p. 33, no. 87mrdslsfm — p. 53, no. 170mrdslslf — p. 86, no. 293mrdslstr — p. 43, no. 135; p. 108, no. 353mrdtdrmr — p. 21, no. 43mrmdmfss — p. 32, no. 82mrmfmrds — p. 56, no. 183mrmfmrsf — p. 41, no. 125

113

mrmfssmr — p. 27, no. 63mmdrsmdm — p. 40, no. 123mmrdtdrd — p. 36, no. 107mmrmstls — p. 104, no. 344mmmrdddd — p. 103, no. 339mmmfmmrr — p. 40, no. 120mmfssfmr — p. 19, no. 30mmslslsl — p. 99, no. 330mfrdrmfs — p. 70, no. 236mfrmdlsf — p. 78, no. 264mfmrdmfs — p. 25, no. 53mfmmrdtd — p. 49, no. 151mfsmdttd — p. 63, no. 207mfsmrtds — p. 37, no. 112; p. 107, no. 350mfsmfsmr — p. 69, no. 230mfssfmrr — p. 25, no. 55mfssfsls — p. 93, no. 311mfsssfsl — p. 95, no. 317mfsssssm — p. 37, no. 110mfsssssl — p. 45, no. 142mfssltdt — p. 97, no. 325mfslsmrd — p. 86, no. 290mfslsffs — p. 71, no. 241msrsmdtd — p. 75, no. 253msmdrmsm — p. 29, no. 71msmrdsfm — p. 82, no. 277msmfmrdm — p. 102, no. 335msmffflf — p. 71, no. 238msmsslfl — p. 65, no. 211msmlmsml — p. 85, no. 286msssffmm — p. 37, no. 108mtrddrmr — p. 64, no. 209ffdddtdr — p. 104, no. 341fslsfmfs — p. 73, no. 247sdddddrr — p. 44, no. 139; p. 107, no. 351sddddrrr — p. 43, no. 132sddddmrd — p. 102, no. 336sddddtdr — p. 78, no. 266sddddtss — p. 90, no. 306sdddmddm — p. 31, no. 76sdddlssd — p. 68, no. 225sdddtdrs — p. 26, no. 57sddrmfsl — p. 89, no. 303sddrtddm — p. 84, no. 284sddmdtls — p. 82, no. 276sddmmssm — p. 41, no. 124; p. 109, no. 355sddtlslf — p. 77, no. 260sdrdsdrm — p. 55, no. 177


sdrmdmmr — p. 35, no. 99sdrmdsrd — p. 65, no. 213sdrmrdrm — p. 27, no. 64sdrmmfmd — p. 28, no. 66; p. 81, no. 272sdrmmffs — p. 57, no. 191sdrmfrdt — p. 59, no. 200sdrmfmfs — p. 45, no. 143sdrmfsdr — p. 75, no. 252sdrsdrmr — p. 63, no. 208sdmdmdmr — p. 88, no. 301sdmrdrms — p. 34, no. 92sdmrfmrd — p. 88, no. 300sdmmmmrm — p. 70, no. 234sdmmfmrr — p. 99, no. 332sdmsdmsd — p. 104, no. 340sdmsrmld — p. 86, no. 292sdmsfmdd — p. 67, no. 221; p. 107, no. 349sdmssdms — p. 42, no. 127; p. 108, no. 352sdsdrmrr — p. 40, no. 122sdtdrmfs — p. 63, no. 206sdtdlsdr — p. 71, no. 242; p. 87, no. 299sdtlsfsr — p. 59, no. 199; p. 104, no. 343sdtlslsf — p. 97, no. 326sdtltdtl — p. 85, no. 288srmtdrrs — p. 64, no. 210smdsslsd — p. 38, no. 117smrdrmfr — p. 69, no. 229smrdsmrd — p. 33, no. 88smrdtlds — p. 33, no. 86smrdttdl — p. 82, no. 275smrrdmrs — p. 38, no. 115; p. 108, no. 354smrmdsss — p. 75, no. 254smrmrtdd — p. 58, no. 196smmddtrm — p. 67, no. 222smmrrddt — p. 88, no. 302smmrrmmd — p. 61, no. 204smmmrddd — p. 27, no. 60smmmmrrr — p. 80, no. 271smmmmfmr — p. 96, no. 321smfsdrmf — p. 100, no. 334smfslsmd — p. 52, no. 162smfslsfm — p. 105, no. 346smsmrdmr — p. 32, no. 84; p. 33, no. 85smsfmrsf — p. 60, no. 202smslssmd — p. 32, no. 81; p. 41, no. 126sfrfmdss — p. 42, no. 129; p. 109, no. 358sfmrrdtl — p. 20, no. 39sfmmmmfm — p. 68, no. 228

115

sfmmsdsm — p. 43, no. 134sfmfmmfs — p. 21, no. 41sfmfsdrd — p. 25, no. 52sfmfsldt — p. 72, no. 245sfmfsltd — p. 71, no. 240sfmsmsmf — p. 99, no. 331sfmsfmrd — p. 31, no. 77; p. 81, no. 273; p. 96, no. 322sfslsfss — p. 56, no. 186sflsftrd — p. 95, no. 320ssdddtdr — p. 56, no. 185; p. 76, no. 255ssdddttd — p. 71, no. 239ssddrmrd — p. 42, no. 128ssddmrtd — p. 67, no. 224ssddssmm — p. 95, no. 319ssddsldr — p. 72, no. 246ssddtddr — p. 105, no. 345; p. 109, no. 361ssdrdtdr — p. 36, no. 103ssdrmmmm — p. 97, no. 324ssdmrdrm — p. 78, no. 265ssdmsfmf — p. 34, no. 94ssdssmmr — p. 43, no. 133ssdtdrdt — p. 98, no. 329ssdtrddt — p. 83, no. 279ssdtfmsm — p. 44, no. 136ssmdddrm — p. 58, no. 194ssmddtll — p. 38, no. 114ssmdsfrm — p. 55, no. 178ssmrddtd — p. 80, no. 270ssmrdssf — p. 70, no. 232ssmrdtdr — p. 58, no. 195ssmmmddt — p. 94, no. 314ssmmssrr — p. 40, no. 119ssfmmrdr — p. 69, no. 231sssddmms — p. 83, no. 280sssdmsss — p. 56, no. 182sssmfsls — p. 72, no. 243sssffmmm — p. 35, no. 100ssssdsss — p. 36, no. 102; p. 77, no. 261ssssssss — p. 30, no. 73sssslsmm — p. 102, no. 337sssslssd — p. 57, no. 189ssslsssf — p. 50, no. 155sslddsfm — p. 70, no. 235sslsmsss — p. 94, no. 315sslsfmrd — p. 52, no. 160sslsfmrl — p. 87, no. 296sslsfmmf — p. 59, no. 201sslsffmm — p. 57, no. 192


ssltddtl — p. 20, no. 38ssltdtdr — p. 31, no. 79ssltdtdt — p. 20, no. 35ssltdttt — p. 53, no. 168slsmdsls — p. 35, no. 96slsmrddt — p. 78, no. 262slsffmmr — p. 21, no. 42slssddrm — p. 34, no. 93slslsdtd — p. 60, no. 203slslsssd — p. 82, no. 278sltdrmrm — p. 21, no. 40sltdmmrd — p. 94, no. 316strsfmfs — p. 79, no. 267stlsmfsd — p. 98, no. 328lmrdsdrm — p. 74, no. 250lmsltddt — p. 85, no. 287lsslssls — p. 54, no. 172tdmddrfr — p. 46, no. 145

117


Index

’Tis Me, O Lord, 103Annchen von Tharau, 34

Absent Davie, 33Abt, Franz

Kathleen Aroon, 86Ach, Englische Schaeferin, 89adagio poco cantabile from string quartet, Op.

73, #3, Franz Joseph Haydn, 96Adieu, Bonne Hotesse, 75After the Ball, Charles K. Harris, 85Ah Mon Beau Chateau, 34Ah, Suzette, Chere, 43Ainsi Font, Font, Font, 35Allan Maclean, 95allegro from Eine kleine Nachtmusik, W.A. Mozart,

34Alouette (rhythm only), , 15Am Feierabend, Franz Schubert, 58Amarilli, Mia Bella, Giulio Carcini, 64America the Beautiful, Katharine Lee Bates, 40andante un poco allegretto from string quartet

# 5, W.A. Mozart, 90Angel de Mis Amores, 58Annie Laurie, 28anonymous

’Tis Me, O Lord, 103Annchen von Tharau, 34A, 3/4, 83A, 4/4, 80A, 6/8, 44A[, 3/4, 44Absent Davie, 33Ach, Englische Schaeferin, 89Adieu, Bonne Hotesse, 75Ah Mon Beau Chateau, 34Ah, Suzette, Chere, 43Ainsi Font, Font, Font, 35Allan Maclean, 95Angel de Mis Amores, 58Annie Laurie, 28Arlequin Marie Sa Fille, 65Arlequin Tient Sa Boutique, 40As-Tu Vu la Casquette?, 32

Ash Grove, The, 67, 107Au Jardin de Mon Pere, 67Autrefois le Rat de Ville, 94Aux Marches du Palais, 40Avril, 72Ballade de Roland, 40Barbara Allan, 42Beggar Girl, The, 31Bonnie Wee Window, 70Bonniest Lass in a’ The Land, The, 66Braes O Yarrow, The, 71Brother, Guide Me Home, 35C, 3/4, 26C, 6/8, 107Calinda, 71Carmela, 28, 81carol, 20Caroline, 72Chill Ether, 44Cowboy’s Home Sweet Home, 70Cradle Song, 104Crepusculo, 97Cruel Mother, The, 98Cyclone at Ryecove, 102d, 4/4, 78Da Unten Im Tale, 67Dans la Foret Lointaine, 31Dans le Port, Il Est Arrive, 95Dans Notre Jardin, 42Derriere Chez Moi, 76Die Sonne Scheint Nicht Mehr, 74Down in the Valley, 35Duke of Argyle’s Courtship, The, 45e, 3/4, 64En Avant, Grenadiers, 58En Revenant d’Auvergne, 30Entendez-Vous Sur l’Ormeau, 30Entre Vous Tous Gens de la Ville, 79Erlaube Mir, Fein’s Madchen, 99Es Ritt ein Ritter, 104Every Hour in the Day, 53, 109F, 2/4, 65f, 2/4, 79Feinsliebchen, Du Sollst, 105, 109

Forget na’, dear Lassie, 53G, 2/4, 32, 73, 84, 87

G, 3/4, 34G, 6/8, 41, 109

Gar Lieblich Hat Sich Gesellet, 46Gardez Piti Milatte-la, 37Go Down, Moses, 61

Gold Band, The, 69Graveyard, The, 102Gunhilde, 88

Guten Abend, 56Gwine Follow, 81

Gypsy Warning, The, 42Hallowed Spot, The, 72Hanukah O Hanukah, 77

I Ride an Old Paint, 68I Want To Be Ready, 67

I’m In Trouble, 70If Your Foot Is Pretty, Show It, 38Jehovah, Hallelujah, 65

Jungfraulein, Soll Ich Mit Euch Gehn, 43Kevin Barry, 93

la Claire Fontaine, A, 27Lang Johnny More, 66Lawlan’ Jenny, 29

Let God’s Saints Come In, 94Lolotte, 57lullabye, 56, 109

Media Noche, 97Mi Sueno, 59

Musieu Bainjo, 35My Father, How Long?, 28My Field, 55

O Daniel, 90Ojos Mexicanos, Los, 57

Paloma Blanca, La, 43, 108Poor Rosy, 32, 33Praise, Member, 32, 41

Que No Te Amo, 78Quinze Ans, A, 83

Remon, 87Rana, La, 84Recouvrance, A, 27

Red River Valley, 70Reir Es Necesario, 57, 82Roll, Jordan, Roll, 102

Sagt Mir, O Schonste Schaf’rin Mein, 88Schonster Schatz, Mein Engel, 35

Schwesterlein, 104

Serenata, 36, 38

Ship That Never Returned, The, 73

Shout On, Children, 37

Sinner Won’t Die No More, 68

Thou Poor Bird, 54

Tristes Horas, Las, 56

Tu Eres Mas Bella, 41

Vivo Llorando la Suerte, 78

Vivo Penando, 94

Wach’ Auf, Mein Hort, 42, 108

Walk, Shepherdess, Walk, 82

Widdecombe Fair, 82

Wild Moor, The, 71

Ya Viene El Alba, 63

Arlequin Marie Sa Fille, 65

Arlequin Tient Sa Boutique, 40

As-Tu Vu la Casquette?, 32

Ash Grove, The, 67, 107

Au Jardin de Mon Pere, 67

Autrefois le Rat de Ville, 94

Aux Marches du Palais, 40

Avril, 72

Away in a Manger (rhythm only), , 15

Bach, J.S.

Bourree II from orchestral suite #2, 98

Chorale, ‘Befiehl du deine Wege’, 104

Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’,104

Chorale, ‘Es ist gewisslich an der Zeit’, 28

Chorale, ‘Es spricht der Unweisen Mundwohl’, 36

Chorale, ‘Es steh’n vor Gottes Throne’, 54

Chorale, ‘Gib Dich Zufrieden und Sei Stille’,105

Chorale, ‘Herr, nun lass in Friede’, 53

Chorale, ‘Herr, wie du willst, so schick’s mitmir’, 20, 40

Chorale, ‘Jesu, meiner Seelen Wonne’, 25

Chorale, ‘Liebster Jesu, wir sind hier’, 37

Chorale, ‘Mach’s mit mir, Gott, nach deinerGut’, 37

Chorale, ‘Nun ruhen alle Walder’, 45

Chorale, ‘Nun sich der Tag geendet hat’, 57

Chorale, ‘O Haupt voll Blut und Wunden,’from St. Matthew’s Passion, 59

Chorale, ‘O Traurigkeit, o Herzeleid’, 58

120 Index

Chorale, ‘Seelenbrautigam, Jesu, Gottes Lamm’,25

Chorale, ‘Valet will ich dir geben’, 36

Chorale, ‘Von Gott will ich nicht lassen’, 59

Chorale, ‘War’ Gott Nicht Mit Uns DieseZeit’, 89

Chorale, ‘Wenn wir in hochsten Noten sein’,45

Chorale, ‘Wie bist du Seele in mir so garbetrubt’, 36

Gavotte II from cello suite # 5, 56

Invention 2, 90

Menuet I from orchestral suite #1, 100

menuet II from cello suite # 2, 87

trio from Brandenburg concerto # 1, 78

Ballade de Roland, 40

Barbara Allan, 42

Bates, Katharine Lee

America the Beautiful, 40

Beautiful Angel, The, Pierre Latour, 20

Beautiful Isle of Somewhere, J.S. Fearis, 70

Beckoning the Chickens, Froebel, 32

Beckoning the Pigeons, Froebel, 31

Beethoven

Ode to Joy, 19

opening movement from string quartet #1, 86

opening theme of Symphony #3, 27

Beggar Girl, The, 31

Beuttner, Nikolaus

Es kam ein treuer Bote, 36

Bingo (rhythm only), , 13

Bonnie Wee Window, 70

Bonniest Lass in a’ The Land, The, 66

Bourree II from orchestral suite #2, J.S. Bach,98

Braes O Yarrow, The, 71

Brahms, Johannes

introduction, 1st symphony, 71, 87

Nachtwache 1, 58

Broadway Sights, W.H. Latham, 27

Brother, Guide Me Home, 35

Brother, Tell Me of the Battle, George F. Root,95

Calinda, 71

Cangia, Cangia Tue Voglie, G.B. Fasolo, 67

Carcini, Giulio

Amarilli, Mia Bella, 64

Carmela, 28, 81

Caro Mio Ben, Attributed to Guiseppe Gior-diano,, 86

carol, 20

Caroline, 72

Chant de Sion, Darius Milhaud, 88

Chill Ether, 44

chorus from Judas Maccabaeus, G.F. Handel,100

Cowboy’s Home Sweet Home, 70

Cradle Song, 104

Crepusculo, 97

Crowell, B.

a, 3/4, 49

A, 4/4, 33

a, 4/4, 49, 90

a, 6/8, 49

A[, 4/4, 21

B[, 3/4, 1, 33

B[, 4/4, 20

B[, 4/4, 1, 46

C, 3/4, 19, 21, 107

c, 3/4, 52

C, 4/4, 19, 25, 107

c, 4/4, 52

C, 4/4, 1, 21

D[, 4/4, 21

E[, 3/4, 20

F, 3/4, 25

f, 4/4, 53

G, 3/4, 19, 25, 38

G, 4/4, 22, 26

g, 4/4, 77

G, 6/8, 21

g, 9/8, 55

G[, 4/4, 21

Who Got Dirt on the Carpet Again?, 52,93

Cruel Mother, The, 98

Cyclone at Ryecove, 102

Da Unten Im Tale, 67

Danksagung an den Bach, Franz Schubert, 63

Dans la Foret Lointaine, 31

Dans le Port, Il Est Arrive, 95

Dans Notre Jardin, 42

Das Wandern, Franz Schubert, 44

Index 121

Dearest Spot on Earth, The, W.T. Wrighton,33

Derriere Chez Moi, 76Devotion, Richard Strauss, 67Diadem, J. Ellor, 75Die Sonne Scheint Nicht Mehr, 74Down in the Valley, 35Duke of Argyle’s Courtship, The, 45

Easy Winners, The, Scott Joplin, 99Edwards, Gus

In My Merry Oldsmobile, 99Ellor, J.

Diadem, 75En Avant, Grenadiers, 58En Revenant d’Auvergne, 30Entendez-Vous Sur l’Ormeau, 30Entre Vous Tous Gens de la Ville, 79Erlaube Mir, Fein’s Madchen, 99Es kam ein treuer Bote, Nikolaus Beuttner, 36Es Ritt ein Ritter, 104Europe, James Reese

Goodnight Angeline, 102Every Hour in the Day, 53, 109

Faded Coat of Blue, The, J.H. McNaughton, 96Fairy Boat, The, Harold Samuel, 45Fasolo, G.B.

Cangia, Cangia Tue Voglie, 67Fearis, J.S.

Beautiful Isle of Somewhere, 70Feinsliebchen, Du Sollst, 105, 109finale, London symphony, Franz Joseph Haydn,

42, 109Forget na’, dear Lassie, 53Foster, Stephen

Hard Times Come Again No More, 29Old Folks at Home, 65Slumber My Darling, 85Song of All Songs, The, 76

FroebelBeckoning the Chickens, 32Beckoning the Pigeons, 31Pat-a-Cake, 28Wolf, The, 56

Gar Lieblich Hat Sich Gesellet, 46Gardez Piti Milatte-la, 37Gavotte II from cello suite # 5, J.S. Bach, 56

Gia il Sole dal Gange, Alessandro Scarlatti, 63

Giordiano,, Attributed to Guiseppe

Caro Mio Ben, 86

Go Down, Moses, 61

Gold Band, The, 69

Goldfaden, Abraham

Raisins with Almonds, 91

Goodnight Angeline, James Reese Europe, 102

Graveyard, The, 102

Grieg

e, 4/4, 63

Gunhilde, 88

Guten Abend, 56

Gwine Follow, 81

Gypsy Warning, The, 42

Hallowed Spot, The, 72

Halt, Franz Schubert, 38

Handel, G.F.

chorus from Judas Maccabaeus, 100

Hush ye pretty warbling quire from Acisand Galatea, 68

O Jordan, Sacred Tide from Esther, 60

Hanukah O Hanukah, 77

Hard Times Come Again No More, StephenFoster, 29

Harris, Charles K.

After the Ball, 85

Hawthorne, Alice

Home, By and By, 31

Out of Work, 98

Haydn, Franz Joseph

adagio poco cantabile from string quartet,Op. 73, #3, 96

finale, London symphony, 42, 109

introduction, London symphony, 70

menuet Oxford symphony, 37, 107

Here We Go Round the Mulberry Bush (rhythmonly), , 16

Hess, C.

Little Charley Went a Fishing, 80

Holst, Gustav

Venus theme from The Planets, 38, 108

Home On the Range (rhythm only), , 15

Home, By and By, Alice Hawthorne, 31

Husband, John

Revive Us Again, 35

Hush Little Baby (rhythm only), , 14

122 Index

Hush ye pretty warbling quire from Acis andGalatea, G.F. Handel, 68

I Ride an Old Paint, 68I Want To Be Ready, 67I’m In Trouble, 70I’ve Been Working on the Railroad (rhythm

only), , 15If with all your hearts ye truly seek me from

Elijah, Felix Mendelssohn, 82If Ye Love Me, Thomas Tallis, 68If Your Foot Is Pretty, Show It, 38In My Merry Oldsmobile, Gus Edwards, 99introduction, 1st symphony, Johannes Brahms,

71, 87introduction, London symphony, Franz Joseph

Haydn, 70Invention 2, J.S. Bach, 90

Jehovah, Hallelujah, 65Jenny Lind Mania, The, W.H.C. West, 67Jimmy Crack Corn (rhythm only), , 14Jingle Bells (rhythm only), , 14Joplin, Scott

Easy Winners, The, 99The Entertainer (rhythm only), 16

Jungfraulein, Soll Ich Mit Euch Gehn, 43

Kathleen Aroon, Franz Abt, 86Kevin Barry, 93

la Claire Fontaine, A, 27Lang Johnny More, 66Latham, W.H.

Broadway Sights, 27Latour, Pierre

Beautiful Angel, The, 20Lawlan’ Jenny, 29Let God’s Saints Come In, 94Lewis, L.R.

a, 3/4, 49a, 4/4, 49, 50B, 3/4, 20B[, 4/4, 20, 23C, 4/4, 22C, 6/8, 23d, 3/2, 50d, 3/4, 50d, 4/4, 50

Little Brown Jug (rhythm only), , 13

Little Charley Went a Fishing, C. Hess, 80

Lolotte, 57

lullabye, 56, 109

Luther, Martin

Mighty Fortress Is Our God, A, 93

We Come Unto Our Father’s God, 29

M’ha Preso Alla Sua Ragna, Pier DomenicoParadies, 73

march from The Nutcracker (rhythm only), P.I.Tchaikovsky, 16

McNaughton, J.H.

Faded Coat of Blue, The, 96

Media Noche, 97

Mendelssohn, Felix

If with all your hearts ye truly seek me fromElijah, 82

Menuet I from orchestral suite #1, J.S. Bach,100

menuet II from cello suite # 2, J.S. Bach, 87

menuet Oxford symphony, Franz Joseph Haydn,37, 107

Mi Sueno, 59

Mighty Fortress Is Our God, A, Martin Luther,93

Milhaud, Darius

Chant de Sion, 88

Mozart, W.A.

allegro from Eine kleine Nachtmusik, 34

andante un poco allegretto from string quar-tet # 5, 90

aria (Papageno) from ‘The Magic Flute’,35, 109

aria from the Magic Flute, 94

opening from clarinet quintet, 69

Osanna (bass solo, allegro) from Sanctus,Requiem, 78

string quartet # 1, adagio, 36

string quartet # 1, menuet, 81, 96

string quartet # 1, trio, 86

string quartet # 10, menuet, 72

string quartet # 15, menuet, 57

string quartet # 2, andante, 71

string quartet # 4, opening, 84

string quartet # 4, presto, 75

string quartet # 6, rondo, 75

string quartet # 7, presto, 83

Index 123

string quartet # 8, menuet, 80, 83theme from symphony in G minor, 54

Musieu Bainjo, 35My Father, How Long?, 28My Field, 55

Nachtwache 1, Johannes Brahms, 58Not Yet, Richard Strauss, 43

O Come, All Ye Faithful (rhythm only), , 13O Daniel, 90O Jordan, Sacred Tide from Esther, G.F. Han-

del, 60O Little Town of Bethlehem (rhythm only), ,

14Ode to Joy, Beethoven, 19Ojos Mexicanos, Los, 57Old Folks at Home, Stephen Foster, 65opening from clarinet quintet, W.A. Mozart, 69opening movement from string quartet # 1, Beethoven,

86opening theme of Symphony #3, Beethoven, 27Ophelia’s Song, Maude Valerie White, 57Osanna (bass solo, allegro) from Sanctus, Re-

quiem, W.A. Mozart, 78Out of Work, Alice Hawthorne, 98

Paloma Blanca, La, 43, 108Paradies, Pier Domenico

M’ha Preso Alla Sua Ragna, 73Pat-a-Cake, Froebel, 28Pergolesi, Giovanni Battista

aria from Stabat Mater, 87Sancta Mater from Stabat Mater, 27, 109tune from Stabat Mater, 69, 97

Poor Rosy, 32, 33Pop Goes the Weasel (rhythm only), , 16Praise, Member, 32, 41

Que No Te Amo, 78Quinze Ans, A, 83

Remon, 87Ragion Sempre Addita, Alessandro Stradella,

95Rain, Rain, Go Away (rhythm only), , 13Raisins with Almonds, Abraham Goldfaden, 91Rana, La, 84Recouvrance, A, 27

Red River Valley, 70

Reir Es Necesario, 57, 82

Revive Us Again, John Husband, 35

Rimsky-Korsakov, Nikolai

Scheherezade, 86

Rockabye Baby (rhythm only), , 15

Roll, Jordan, Roll, 102

Root, George F.

Brother, Tell Me of the Battle, 95

Row, Burnie, Row, H. Burgess Weston, 30

Row, Row, Row Your Boat (rhythm only), , 16

Sagt Mir, O Schonste Schaf’rin Mein, 88

Samuel, Harold

Fairy Boat, The, 45

Sancta Mater from Stabat Mater, Giovanni Bat-tista Pergolesi, 27, 109

Scarlatti, Alessandro

Gia il Sole dal Gange, 63

Su, Venite a Consiglio, 27

Schonster Schatz, Mein Engel, 35

Scheherezade, Nikolai Rimsky-Korsakov, 86

Schubert, Franz

Am Feierabend, 58

Danksagung an den Bach, 63

Das Wandern, 44

Halt, 38

Wohin?, 37

Schwesterlein, 104

Serenata, 36, 38

Ship That Never Returned, The, 73

Shout On, Children, 37

Sing Hey to You, Good-Day to You, A.S. Sulli-van, 85

Sinner Won’t Die No More, 68

Slumber My Darling, Stephen Foster, 85

Song of All Songs, The, Stephen Foster, 76

Stradella, Alessandro

Ragion Sempre Addita, 95

Strauss, Richard

Devotion, 67

Not Yet, 43

string quartet # 1, adagio, W.A. Mozart, 36

string quartet # 1, menuet, W.A. Mozart, 81,96

string quartet # 1, trio, W.A. Mozart, 86

string quartet # 10, menuet, W.A. Mozart, 72

string quartet # 15, menuet, W.A. Mozart, 57

124 Index

string quartet # 2, andante, W.A. Mozart, 71

string quartet # 4, opening, W.A. Mozart, 84

string quartet # 4, presto, W.A. Mozart, 75

string quartet # 6, rondo, W.A. Mozart, 75

string quartet # 7, presto, W.A. Mozart, 83

string quartet # 8, menuet, W.A. Mozart, 80,83

Su, Venite a Consiglio, Alessandro Scarlatti, 27

Sullivan, A.S.

E[, 6/8, 27

Sing Hey to You, Good-Day to You, 85

Take a Pair of Sparkling Eyes, 85

Take a Pair of Sparkling Eyes, A.S. Sullivan, 85

Take Me Out to the Ball Game (rhythm only),, 14

Tallis, Thomas

If Ye Love Me, 68

Tchaikovsky, P.I.

march from The Nutcracker (rhythm only),16

trepak from The Nutcracker (rhythm only),15

waltz of the flowers from The Nutcracker(rhythm only), 15

The Entertainer (rhythm only), Scott Joplin,16

The Itsy-Bitsy Spider (rhythm only), , 16

theme from symphony in G minor, W.A. Mozart,54

This Old Man (rhythm only), , 14

Thou Poor Bird, 54

trepak from The Nutcracker (rhythm only), P.I.Tchaikovsky, 15

trio from Brandenburg concerto # 1, J.S. Bach,78

Tristes Horas, Las, 56

Tu Eres Mas Bella, 41

Twinkle Twinkle, Little Star (rhythm only), ,13

Venus theme from The Planets, Gustav Holst,38, 108

Vivo Llorando la Suerte, 78

Vivo Penando, 94

Wach’ Auf, Mein Hort, 42, 108

Walk, Shepherdess, Walk, 82

waltz of the flowers from The Nutcracker (rhythmonly), P.I. Tchaikovsky, 15

We Come Unto Our Father’s God, Martin Luther,29

We Three Kings (rhythm only), , 14We Wish You a Merry Christmas (rhythm only),

, 14Wedge, G.A.

c, 2/4, 77c, 3/4, 52, 56f, 2/4, 53, 77f, 3/4, 77g, 2/4, 55g, 3/4, 55, 56, 60g, 4/8, 59

West, W.H.C.Jenny Lind Mania, The, 67

Weston, H. BurgessRow, Burnie, Row, 30

White, Maude ValerieOphelia’s Song, 57

Who Got Dirt on the Carpet Again?, B. Crow-ell, 52, 93

Widdecombe Fair, 82Wild Moor, The, 71Wohin?, Franz Schubert, 37Wolf, The, Froebel, 56Wrighton, W.T.

Dearest Spot on Earth, The, 33

Ya Viene El Alba, 63

Index 125

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[Vocal] eyes & ears sight singing

Education