Intervals

71

Write 3 8 on
interval.

staff.
it

Name

it.

Play

it

as an harmonic

and and then 3. 8 and sing Flay again, from G, F, D and Bb. Play Practise the minor 6th in each key as outlined above.
Sing
again after playing, singing 3

then

8.

1358

Play the following:

(2)

Pitch Drill:
resolve

6
Sing:

may

643 instead of 6

5.

13565 13564321 135643 16531 16431 164321

G, treble

3565 35643 31653 31643

56531 564321 51653 5164321 3516535 1643 35 1643 5643

585643 82785643 8564321 1 271643 835643 571643 5721643 81653 81643

The above numbers should be written on the staff in C, F and and bass. Then they should be referred to later and from the staff by number and letter. They should also be sung used for dictation. After they have become comparatively easy in major, they should be studied in minor by lowering the 3rd and 6th. They should also be written in c, f and g minor and sung number. by
(3) Exercises for Dictation:

Melodies containing 6

4, for dictation

and

singing:

>l
I

fs

iCj ifl-H-

=*=*

m
n
f

7'
^li Trf

'

fr

I" FQ-

rr

ii

Lrif

If

[j-lr

^N

IJI

CiTr

If

r r

IT

[r^^^

72

Ear-Training and Sight-Singing

10

J ^
12
~^Y

mig- m m

J.
|

These should be written in other keys and and with different note-values.
Section C.
Pitch Drill:
(1)

in the

minor mode,

The

Sing

13565 1346531 1346538 35465 53465

skip 4 6 5

is also

used.

5346538
The above numbers
Section B, page 71.

5346571 853465 83465 81465 8283465

to be written as directed in Lesson 12,

(2) Exercises for Dictation

and Singing:
2,

Melodies containing any of the skips 7

i

2 4, 6 4, 4 6.

IUJ

rjir

10

iffcrffirrrrj
12

rrf

if

erf;

13

14

*"!

i^cJcj

'r

Cy

iLTLJ-i

Intervals

73

16

The above should be written in other keys; also in minor and with different note-values.

(3) Exercises
l

in Sight-Singing:
2

J IJ
j.

irrr

if

if

r ir

ifrrr ir?r

rr

ir

74

Ear-Training and Sight-Singing

MI rr irrr 'rr

10 r
if

'

'

r r

' i

ir r

LESSON 13

the accented or the unRhythm in music accented pulse of the meter. This corresponds to the rhythm or kind of foot used in poetry. If the rhythm begins with the v_^ or a trochee. If the rhythm accented pulse, the effect is or an begins with the unaccented pulse the effect is

The Up-beat may begin with

iambus.
will

When the rhythm begins on the accented pulse, the measure correspond to the space between the bars, thus:
1.

Ma

ry,

-Ma,

ry,

quite
,

con

Ua ,

ry

J_

When the rhythm begins on the unaccented pulse in duple meter, a measure will extend from the unaccented through the accented pulse, thus:
2

The

shades of

night were

fait

Ing

fast

the rhythm begins on the unaccented pulse in triple will extend from the second unaccented through a measure meter, the first unaccented pulse, thus:
3.

When

long came

spl

der

and

sat

down be

side her

.3

3.

J.JJJ.JJJ.JJ

Section A.
Suggestions for Study:
(1)

Erect (using accidentals) a Perfect 5th Minor 6th

1

Major

2nd
3rd
7th

from

Perfect 4th

E,A,D,G, B
[

Minor Major

and F#.

Intervals

75

(2)

Erect (using accidentals) a Major

3rd

Minor Major

2nd
6th
7th
[

from

Db

Ab, C,F,

Perfect 5th

Bb and

Minor
(3)

Name

the following intervals:

(4)

Scan the following

lines,

marking the long and short

syllables:

Jack and Jill went up the hill. Rock-a-by baby on the tree-top. Sing a song o' sixpence. Humpty Dumpty sat on the wall.

Maxwel ton's braes are bonny. Flow gently, sweet Afton. O say, can you see, by the dawn's early light. By yon bonnie banks and by yon bonnie braes.
(5)
3,

Make rhythmic
74.

outlines of each, as in

Examples

1,

and

page

Section B.
(1) (a)

Play the following:

Sing each; first the lower tone (3), and then the higher (8). Play each again, and sing 8 first and then 3. from C. (b) Play

1358
1

Think

5.

Think

5 8.

Play the following:

fe

tT