2

Copyright c 2004 Benjamin Crowell
All rights reserved.
rev. November 4, 2005
Permission is granted to copy, distribute and/or modify this document under the terms of the Creative
Commons Attribution Share-Alike License, which can be found at creativecommons.org. The book’s
web site,
www.lightandmatter.com/sight/sight.html,
provides the book for downloading free of charge, and also gives further details about the copyrights
of the individual melodies.
Brief Contents
I Rhythm 13
I-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 15
I-8 Syncopation 16
I-9 Triplets 16
II Major Keys 17
II-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 32
II-7 Leaps of a Sixth Within the Tonic Triad 34
II-8 Leaps Within the Dominant 37
II-9 Wider Leaps Within the Dominant 44
2
III Minor Keys 53
III-1 Solfeggio in the Minor Mode 53
III-2 Steps 55
III-3 Leaps Within the Tonic Triad 58
III-4 Leaps Within the Dominant 61
IV Other Diatonic Materials 69
IV-1 Leaps Between the Tonic and Dominant 69
IV-2 Leaps Within the Subdominant, Major Keys 71
IV-3 Wide Leaps Within the Subdominant 84
IV-4 Leaps Within the Subdominant, Minor Keys 86
IV-5 Leaps of a Seventh 89
IV-6 Other Perfect Fourths and Fifths 94
IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale 104
V Nondiatonic Materials 107
V-1 Secondary Dominants and Chromatic Passing Tones 107
V-2 Blue Notes 121
V-3 Relative Minor and Major 123
VI The C Clef 127
3
Contents
I Rhythm . . . . . . . . .13
I-1 Whole, Half, and Quarter
Notes . . . . . . . . . . . . . . . .13
1 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 . . . . . . . . . . . . . . . .14
6 rhythm of We Three Kings, 3/4. . . . . . 14
7 rhythm of Take Me Out to the Ball Game, 3/414
I-3 Eighth Notes . . . . . . . . .14
8 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 . . . .14
12 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. . . . . . . .15
17 Tchaikovsky, rhythm of trepak from The
Nutcracker, 2/4 . . . . . . . . . . . . . 15
I-6 Dotted Eighth Notes . . . . .15
18 rhythm of Alouette, 4/4 . . . . . . . . 15
19 Tchaikovsky, rhythm of waltz of the flowers
from The Nutcracker, 3/4 . . . . . . . . . 15
20 rhythm of I’ve Been Working on the Rail-
road, 4/4 . . . . . . . . . . . . . . . 15
I-7 Compound Time . . . . . . .15
21 rhythm of Here We Go Round the Mulberry
Bush, 6/8 . . . . . . . . . . . . . . . 15
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 . . . . . . . . . .16
25 Joplin, rhythm of The Entertainer, 2/4 . . 16
I-9 Triplets. . . . . . . . . . . . .16
26 Tchaikovsky, rhythm of march from The
Nutcracker, 4/4 . . . . . . . . . . . . . 16
II Major Keys. . . . .17
II-1 Introduction to Solfeggio . .17
II-2 Melodies Containing Only
Steps . . . . . . . . . . . . . . . .19
27 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, so
schick’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 . . . . . . . . . . . . . . . 21
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 Emerson, Whither Through the Meadow?,
C, 2/4, 1. . . . . . . . . . . . . . . . 21
46 C, 3/4 . . . . . . . . . . . . . . . 22
47 G, 4/4 . . . . . . . . . . . . . . . 22
48 Lewis, C, 4/4 . . . . . . . . . . . . 23
49 Lewis, C, 4/4 . . . . . . . . . . . . 23
50 Lewis, C, 6/8 . . . . . . . . . . . . 23
51 Lewis, B, 4/4 . . . . . . . . . . . . 24
II-3 Leaps to ‘Do’ . . . . . . . .25
52 G, 3/4 . . . . . . . . . . . . . . . 25
53 F, 3/4 . . . . . . . . . . . . . . . 25
4
II-4 Leaps Back to Remembered
Notes . . . . . . . . . . . . . . . .25
54 C, 4/4 . . . . . . . . . . . . . . . 25
55 Bach, Chorale, ‘Seelenbr¨autigam, Jesu,
Gottes Lamm’, A, 4/4 . . . . . . . . . . 25
56 Bach, Chorale, ‘Jesu, meiner Seelen Wonne’,
A, 4/4. . . . . . . . . . . . . . . . . 25
57 G, 4/4 . . . . . . . . . . . . . . . 26
58 folk song, C, 3/4 . . . . . . . . . . . 26
II-5 Easy Leaps Within the Tonic
Triad . . . . . . . . . . . . . . . .27
59 Beethoven, opening theme of Symphony #3
(‘Eroica’), E, 3/4 . . . . . . . . . . . . 27
60 G, 4/4 . . . . . . . . . . . . . . . 27
61 G, 6/8 . . . . . . . . . . . . . . . 27
62 G, 4/4 . . . . . . . . . . . . . . . 27
63 Latham, Broadway Sights, A, 6/8 . . . . 27
64 A la Claire Fontaine (France), F, 2/4 . . . 27
65 Pergolesi, aria ‘Sancta Mater’ from Stabat
Mater, G, 4/4. . . . . . . . . . . . . . 28
66 Sullivan, E, 6/8 . . . . . . . . . . . 28
67 A Recouvrance (France), F, 4/4 . . . . . 28
68 Froebel, Pat-a-Cake, C, 12/8 . . . . . . 28
69 Carmela (Mexico), E, 4/8 . . . . . . . 28
70 My Father, How Long? (Florida), F, 4/4 . 28
71 Bach, Chorale, ‘Es ist gewisslich an der Zeit’,
B, 4/4 . . . . . . . . . . . . . . . . 29
72 Annie Laurie, C, 4/4. . . . . . . . . . 29
73 Cutler, The Son of God Goes Forth to War,
B, 4/4 . . . . . . . . . . . . . . . . 29
74 Luther, We Come Unto Our Father’s God,
G, 4/4. . . . . . . . . . . . . . . . . 30
75 Lawlan’ Jenny (Scotland), D, 3/4 . . . . 30
76 Foster, Hard Times Come Again No More,
E, 4/4 . . . . . . . . . . . . . . . . 30
77 Weston, Row, Burnie, Row, E, 2/4 . . . 30
78 En Revenant d’Auvergne (France), B, 2/4. 30
79 Entendez-Vous Sur l’Ormeau (France), F,
4/4, 1 . . . . . . . . . . . . . . . . . 31
II-6 The Leap of a Fifth Within
the Tonic Triad . . . . . . . . . .32
80 G, 4/4 . . . . . . . . . . . . . . . 32
81 G, 3/4 . . . . . . . . . . . . . . . 32
82 Scarlatti, Su, Venite a Consiglio, G, 3/4 . . 32
83 Rousseau, Hush, My Babe, F, 2/4 . . . . 32
84 Dans la Forˆet Lointaine (France), F, 2/4. . 33
85 The Beggar Girl (England), F, 6/8 . . . . 33
86 Hawthorne, Home, By and By, F, 4/4. . . 33
87 Froebel, Beckoning the Pigeons, G, 3/8 . . 33
88 F, 2/4 . . . . . . . . . . . . . . . 33
II-7 Leaps of a Sixth Within the
Tonic Triad. . . . . . . . . . . . .34
89 G, 4/4 . . . . . . . . . . . . . . . 34
90 G, 9/8 . . . . . . . . . . . . . . . 34
91 Wohlfahrt, Etude, Op. 45, #1, F, 4/4 . . 34
92 As-Tu Vu la Casquette? (France), G, 2/4 . 34
93 Praise, Member (South Carolina), G, 2/4 . 34
94 Froebel, Beckoning the Chickens, F, 2/4. . 34
95 folk song, G, 2/4 . . . . . . . . . . . 35
96 Poor Rosy (South Carolina), G, 2/4 . . . 35
97 Poor Rosy (South Carolina), C, 2/4 . . . 35
98 Wrighton, The Dearest Spot on Earth, B,
4/4 . . . . . . . . . . . . . . . . . . 35
99 Absent Davie (Scotland), D, 4/4. . . . . 35
100 A, 4/4 . . . . . . . . . . . . . . . 36
101 B, 3/4, 1 . . . . . . . . . . . . . 36
II-8 Leaps Within the Dominant 37
102 Mozart, allegro from ‘Eine kleine Nacht-
musik’, F, 4/4 . . . . . . . . . . . . . 37
103 Mozart, Duet No. 2, Menuet, from 12
Duets, K.V. 487, G, 3/4 . . . . . . . . . 37
104 folk song, G, 3/4 . . . . . . . . . . 37
105 Derri`er’ Chez Nous il y a Trois Fleurs
(France), G, 2/4. . . . . . . . . . . . . 37
106 Parry, Villikins and His Dinah, E, 3/4 . . 37
107
¨
Annchen von Tharau (Germany), G, 3/4 . 38
108 Ah! Mon Beau Chˆateau! (France), A, 2/4 38
109 Ainsi Font, Font, Font (France), G, 2/4 . 38
110 Husband, Revive Us Again, C, 3/4 . . . 38
111 Lightly Row (Spain), F, 2/4 . . . . . . 38
112 God Speed the Right (Germany), C, 4/4 . 39
113 Mozart, aria (Papageno) from ‘The Magic
Flute’, G, 2/4 . . . . . . . . . . . . . . 39
114 Sch¨ onster Schatz, Mein Engel, D, 3/4 . . 39
115 Down in the Valley, C, 9/8 . . . . . . 39
116 Musieu Bainjo (Louisiana), G, 2/4 . . . 39
117 Brother, Guide Me Home (Tennessee), A,
4/4 . . . . . . . . . . . . . . . . . . 39
118 Serenata (California), B, 2/2 . . . . . 39
119 Mozart, adagio from string quartet # 1, G,
3/4 . . . . . . . . . . . . . . . . . . 40
5
120 Bach, Chorale, ‘Es spricht der Unweisen
Mund wohl’, B, 4/4 . . . . . . . . . . . 40
121 Beuttner, Es kam ein treuer Bote, F, 4/4 . 40
122 Bach, Chorale, ‘Valet will ich dir geben’, D,
4/4 . . . . . . . . . . . . . . . . . . 40
123 Bach, Chorale, ‘Wie bist du Seele in mir so
gar betr¨ ubt’, G, 4/4 . . . . . . . . . . . 40
124 Gardez Piti Milatte-l`a (Louisiana), B, 4/4 41
125 Shout On, Children (Georgia), A, 2/4 . . 41
126 Schubert, Wohin?, G, 4/8 . . . . . . . 41
127 Bach, Chorale, ‘Liebster Jesu, wir sind hier’,
G, 4/4. . . . . . . . . . . . . . . . . 41
128 Haydn, menuet Oxford symphony, G, 3/4. 41
129 Bach, Chorale, ‘Mach’s mit mir, Gott, nach
deiner Gut’, D, 4/4 . . . . . . . . . . . 41
130 Schubert, Halt!, C, 6/8 . . . . . . . . 41
131 Holst, Venus theme from The Planets, D,
3/4 . . . . . . . . . . . . . . . . . . 42
132 Serenata (California), B, 2/2 . . . . . 42
133 If Your Foot Is Pretty, Show It (United
States), D, 3/8 . . . . . . . . . . . . . 42
134 G, 3/4 . . . . . . . . . . . . . . . 43
II-9 Wider Leaps Within the
Dominant . . . . . . . . . . . . .44
135 Bates, America the Beautiful, C, 4/4 . . 44
136 Eli Yale, B, 2/4 . . . . . . . . . . . 44
137 Krambambuli, D, 2/4 . . . . . . . . 44
138 Go ’Way, Old Man (Louisiana), E, 3/4 . 44
139 Our Baby (France), A, 2/4 . . . . . . 45
140 Aux Marches du Palais (France), F, 6/8 . 45
141 Bach, Chorale, ‘Herr, wie du willst, so
schick’s mit mir’, A, 4/4 . . . . . . . . . 45
142 Bach, minuet, D, 3/4 . . . . . . . . 45
143 Arlequin Tient Sa Boutique (France), A,
2/4 . . . . . . . . . . . . . . . . . . 45
144 Ballade de Roland (France), G, 6/8 . . . 46
145 folk song, G, 6/8 . . . . . . . . . . 46
146 Tu Eres Mas Bella (Costa Rica), F, 2/4 . 46
147 Praise, Member (South Carolina), G, 2/4 . 46
148 Wach’ Auf, Mein Hort, F, 6/8 . . . . . 47
149 Barbara Allan (Scotland), B, 4/4 . . . . 47
150 I’m a Pilgrim (Italy), G, 4/4 . . . . . . 47
151 Haydn, finale, London symphony, D, 4/4 . 47
152 Dans Notre Jardin (France), F, 2/4 . . . 48
153 The Gypsy Warning (Missouri), E, 3/4 . 48
154 Jungfr¨aulein, Soll Ich Mit Euch Gehn, F,
4/4 . . . . . . . . . . . . . . . . . . 48
155 G, 4/4 . . . . . . . . . . . . . . . 48
156 Strauss, Not Yet, A, 6/8 . . . . . . . 49
157 Ah, Suzette, Ch`ere (Louisiana), E, 3/4 . 49
158 La Paloma Blanca (Arizona), F, 6/8 . . . 49
159 Schubert, Das Wandern, B, 4/8 . . . . 49
160 C, 3/4 . . . . . . . . . . . . . . . 49
161 Chill Ether (Scotland), E, 3/4 . . . . . 50
162 folk song, A, 3/4 . . . . . . . . . . 50
163 folk song, A, 6/8 . . . . . . . . . . 50
164 Bach, Chorale, ‘Nun ruhen alle Walder’, B,
4/4 . . . . . . . . . . . . . . . . . . 51
165 Bach, Chorale, ‘Wenn wir in h¨ ochsten
N¨ oten sein’, G, 4/4 . . . . . . . . . . . 51
166 The Duke of Argyle’s Courtship (Scotland),
D, 3/4. . . . . . . . . . . . . . . . . 51
167 Samuel, The Fairy Boat, G, 2/4 . . . . 51
168 Gar Lieblich Hat Sich Gesellet, F, 2/4 . . 51
169 B, 4/4, 1 . . . . . . . . . . . . . 52
III Minor Keys . . . .53
III-1 Solfeggio in the Minor
Mode . . . . . . . . . . . . . . . .53
III-2 Steps . . . . . . . . . . . . .55
170 a, 4/4 . . . . . . . . . . . . . . . 55
171 a, 6/8 . . . . . . . . . . . . . . . 55
172 a, 3/4 . . . . . . . . . . . . . . . 55
173 a, 3/4 . . . . . . . . . . . . . . . 55
174 Lewis, a, 3/4 . . . . . . . . . . . . 55
175 Lewis, a, 3/4 . . . . . . . . . . . . 55
176 Lewis, d, 4/4 . . . . . . . . . . . . 56
177 Lewis, d, 4/4 . . . . . . . . . . . . 56
178 Lewis, d, 3/4 . . . . . . . . . . . . 56
179 Lewis, d, 3/2 . . . . . . . . . . . . 56
180 Bach, gavotte in G minor, g, g/minor . . 56
181 Lewis, a, 4/4 . . . . . . . . . . . . 57
III-3 Leaps Within the Tonic
Triad . . . . . . . . . . . . . . . .58
182 c, 4/4 . . . . . . . . . . . . . . . 58
183 c, 4/4 . . . . . . . . . . . . . . . 58
184 Wedge, c, 3/4. . . . . . . . . . . . 58
185 Who Got Dirt on the Carpet Again?, c, 4/458
186 c, 3/4 . . . . . . . . . . . . . . . 58
187 c, 4/4 . . . . . . . . . . . . . . . 58
188 Wedge, f, 2/4 . . . . . . . . . . . . 59
189 Wedge, f, 2/4 . . . . . . . . . . . . 59
6
190 Wedge, f, 2/4 . . . . . . . . . . . . 59
191 f, 4/4 . . . . . . . . . . . . . . . 59
192 Bach, Chorale, ‘Herr, nun lass in Friede’, a,
4/4 . . . . . . . . . . . . . . . . . . 59
193 Every Hour in the Day (Georgia), e, 2/4 . 59
194 Forget na’, dear Lassie (Scotland), a, 3/4. 60
195 Bach, Chorale, ‘Es steh’n vor Gottes
Throne’, g, 4/4 . . . . . . . . . . . . . 60
196 Mozart, theme from symphony in G minor,
g, 4/4 . . . . . . . . . . . . . . . . . 60
197 Thou Poor Bird, c, 4/4, 1 . . . . . . . 60
III-4 Leaps Within the Dominant61
198 Wedge, g, 3/4. . . . . . . . . . . . 61
199 Wedge, g, 2/4. . . . . . . . . . . . 61
200 My Field (Russia), g, 4/4 . . . . . . . 61
201 g, 9/8 . . . . . . . . . . . . . . . 61
202 Wedge, g, 3/4. . . . . . . . . . . . 61
203 Wedge, g, 3/4. . . . . . . . . . . . 61
204 Wedge, c, 3/4. . . . . . . . . . . . 62
205 Bach, melody from the notebook for Anna
Magdalena, g, 3/4 . . . . . . . . . . . . 62
206 lullabye (Russia), e, 4/4 . . . . . . . 62
207 Las Tristes Horas, e, 2/4 . . . . . . . 62
208 Wedge, g, 3/4. . . . . . . . . . . . 62
209 Froebel, The Wolf, c, 4/8 . . . . . . . 62
210 Guten Abend, g, 3/8 . . . . . . . . . 62
211 Bach, Gavotte II from cello suite # 5, c,
12/8 . . . . . . . . . . . . . . . . . 63
212 Lolotte (Louisiana), c, 4/4. . . . . . . 63
213 Mozart, menuet from string quartet # 15,
d, 3/4 . . . . . . . . . . . . . . . . . 63
214 Los Ojos Mexicanos (Mexico), g, 2/4 . . 63
215 White, Ophelia’s Song, e, 4/4 . . . . . 63
216 Bach, Chorale, ‘Nun sich der Tag geendet
hat’, a, 4/4. . . . . . . . . . . . . . . 63
217 Reir Es Necesario (Mexico), d, 2/4 . . . 64
218 En Avant, Gr´enadiers! (Louisiana), e, 4/4 64
219 Angel de Mis Amores (Mexico), d, 2/4 . . 64
220 Schubert, Am Feierabend, a, 6/8 . . . . 64
221 Bach, Chorale, ‘O Traurigkeit, o Herzeleid’,
a, 4/4 . . . . . . . . . . . . . . . . . 64
222 Brahms, Nachtwache 1, b, 4/4 . . . . . 65
223 Mi Sue˜ no (Mexico), c, 3/4 . . . . . . 65
224 Bach, Chorale, ‘O Haupt voll Blut und
Wunden,’ from St. Matthew’s Passion, d, 4/4 . 65
225 Bach, Chorale, ‘Von Gott will ich nicht
lassen’, b, 4/4 . . . . . . . . . . . . . 65
226 Wedge, g, 4/8. . . . . . . . . . . . 66
227 Wedge, g, 3/4. . . . . . . . . . . . 66
228 Handel, aria ‘O Jordan, Sacred Tide’ from
Esther, g, 3/4. . . . . . . . . . . . . . 67
229 Go Down, Moses (Unites States), g, 4/4 . 67
IV Other Diatonic
Materials. . . . . . . . . .69
IV-1 Leaps Between the Tonic
and Dominant . . . . . . . . . . .69
230 Ya Viene El Alba (California), G, 2/4 . . 69
231 Scarlatti, Gi`a il Sole dal Gange, A, 3/4 . 69
232 Schubert, Danksagung an den Bach, G, 2/469
233 Grieg, e, 4/4 . . . . . . . . . . . . 69
234 zandunga folk song (Southern Mexico), e,
3/4 . . . . . . . . . . . . . . . . . . 70
235 Carcini, Amarilli, Mia Bella, g, 4/4 . . . 70
IV-2 Leaps Within the Subdom-
inant, Major Keys . . . . . . . . .71
236 Jehovah, Hallelujah (South Carolina), F,
3/4 . . . . . . . . . . . . . . . . . . 71
237 Arlequin Marie Sa Fille (France), C, 3/4 . 71
238 folk song, F, 2/4. . . . . . . . . . . 71
239 folk song, F, 2/4. . . . . . . . . . . 71
240 Foster, Old Folks at Home, D, 4/4 . . . 72
241 Lang Johnny More (Scotland), F, 2/4 . . 72
242 The Bonniest Lass in a’ The Land (Scot-
land), C, 2/4 . . . . . . . . . . . . . . 72
243 Old Hundred, G, 4/4 . . . . . . . . . 73
244 Da Unten Im Tale, E, 3/4 . . . . . . 73
245 I Want To Be Ready (United States), E,
2/4 . . . . . . . . . . . . . . . . . . 73
246 Fasolo, Cangia, Cangia Tue Voglie, C, 2/4 73
247 The Ash Grove (Wales), F, 3/4 . . . . . 73
248 West, The Jenny Lind Mania (United
States), G, 2/4 . . . . . . . . . . . . . 73
249 Au Jardin de Mon P`ere (France), F, 6/8 . 73
250 Strauss, Devotion, C, 4/4 . . . . . . . 74
251 I Ride an Old Paint (United States), D, 3/474
252 Whittier, Song of the Free, E, 3/2 . . . 74
253 Handel, aria ‘Hush ye pretty warbling quire’
from Acis and Galatea, F, 3/8 . . . . . . . 74
254 Tallis, If Ye Love Me, F, f/major . . . . 75
255 The Huntsman, B, 6/8 . . . . . . . . 75
7
256 Moore, Evening Bells, G, 3/4 . . . . . 75
257 Sinner Won’t Die No More (Tennessee), A,
4/4 . . . . . . . . . . . . . . . . . . 76
258 Mozart, opening from clarinet quintet, A,
4/4 . . . . . . . . . . . . . . . . . . 76
259 The Gold Band (Tennessee), G, 3/4 . . . 76
260 Pergolesi, tune from Stabat Mater, G, 4/4 77
261 Bonnie Wee Window (Arkansas), E, 6/8 . 77
262 Fearis, Beautiful Isle of Somewhere, A, 6/877
263 Bradbury, He Leadeth Me, B, 4/4 . . . . 77
264 Sullivan, The Blue Juniata, F, 2/4 . . . 78
265 Red River Valley, E, 4/4 . . . . . . . 78
266 I’m In Trouble (Florida), C, 4/4. . . . . 78
267 Haydn, introduction, London symphony, D,
4/4 . . . . . . . . . . . . . . . . . . 78
268 Rosa Lee, A, 2/4 . . . . . . . . . . 78
269 My Lodging Is On the Cold Ground, A, 6/879
270 Cowboy’s Home Sweet Home (Arkansas),
G, 12/8 . . . . . . . . . . . . . . . . 79
271 Calinda (Louisiana), F, 6/8 . . . . . . 79
272 The Braes O Yarrow (Scotland), C, 3/4 . 79
273 Gaudeamus Igitur, G, 3/4 . . . . . . . 80
274 Mozart, andante from string quartet # 2,
A, 3/4. . . . . . . . . . . . . . . . . 80
275 The Wild Moor (Missouri), B, 3/4 . . . 80
276 Brahms, introduction, 1st symphony, C,
4/4 . . . . . . . . . . . . . . . . . . 80
277 Caroline (Louisiana), G, 4/4 . . . . . . 80
278 Avril (France), E, 6/8 . . . . . . . . 81
279 Mozart, menuet from string quartet # 10,
C, 3/4. . . . . . . . . . . . . . . . . 81
280 The Hallowed Spot (Missouri), A, 3/4. . 81
281 folk song (Russia), G, 2/4 . . . . . . . 81
282 The Ship That Never Returned (Missouri),
A, 2/4. . . . . . . . . . . . . . . . . 82
283 Paradies, M’ha Preso Alla Sua Ragna, A,
2/4 . . . . . . . . . . . . . . . . . . 82
284 Die Sonne Scheint Nicht Mehr, E, 4/4 . . 83
285 Ubi Bene, Ibi Patria, C, 6/8 . . . . . . 83
IV-3 Wide Leaps Within the
Subdominant . . . . . . . . . . .84
286 Mozart, presto from string quartet # 4, C,
2/4 . . . . . . . . . . . . . . . . . . 84
287 Ellor, Diadem, B, 3/4 . . . . . . . . 84
288 Mozart, rondo from string quartet # 6, B,
2/4 . . . . . . . . . . . . . . . . . . 84
289 Adieu, Bonne Hˆ otesse (France), F, 4/4. . 84
290 Derri`ere Chez Moi (France), F, 2/4 . . . 85
291 Foster, The Song of All Songs, F, 4/4 . . 85
292 Gladden, The Mountains, B, 4/4 . . . . 85
IV-4 Leaps Within the Subdom-
inant, Minor Keys . . . . . . . . .86
293 Wedge, f, 2/4 . . . . . . . . . . . . 86
294 Wedge, f, 3/4 . . . . . . . . . . . . 86
295 Wedge, c, 2/4. . . . . . . . . . . . 86
296 g, 4/4 . . . . . . . . . . . . . . . 86
297 Hanukah O Hanukah, d, 4/8, Presto. . . 87
298 Vivo Llorando la Suerte (Mexico), d, 2/4 . 87
299 Mozart, Osanna (bass solo, allegro) from
Sanctus, Requiem, D, 3/4 . . . . . . . . . 87
300 Bach, trio from Brandenburg concerto #
1, d, 3/4. . . . . . . . . . . . . . . . 87
301 Que No Te Amo (Mexico), g, 4/4 . . . . 87
302 folk song (Russia), d, 4/4 . . . . . . . 88
303 folk song (Russia), f, 2/4 . . . . . . . 88
304 Entre Vous Tous Gens de la Ville (France),
f, 3/4 . . . . . . . . . . . . . . . . . 88
IV-5 Leaps of a Seventh . . . . .89
305 Mozart, menuet from string quartet # 8,
F, 3/4 . . . . . . . . . . . . . . . . . 89
306 Hess, Little Charley Went a Fishing, F, 6/8 89
307 folk song, A, 4/4 . . . . . . . . . . 89
308 Carmela (Mexico), E, 4/8. . . . . . . 90
309 Mozart, menuet from string quartet # 1,
C, 3/4. . . . . . . . . . . . . . . . . 90
310 Gwine Follow (South Carolina), A, 2/4 . . 91
311 Mendelssohn, aria ‘If with all your hearts ye
truly seek me’ from Elijah, E, 3/4 . . . . . 91
312 Bayly, Long, Long Ago, D, 4/4 . . . . 91
313 Cradle Song, F, 4/4 . . . . . . . . . 91
314 Widdecombe Fair (England), C, 3/4 . . . 92
315 Walk, Shepherdess, Walk (Arkansas), C,
4/4 . . . . . . . . . . . . . . . . . . 92
316 Reir Es Necesario (Mexico), F, 2/4 . . . 92
317 folk song (Russia), A, 3/4 . . . . . . . 92
318 A Quinze Ans (France), g, 6/8 . . . . . 92
319 Mozart, menuet from string quartet # 8,
F, 3/4 . . . . . . . . . . . . . . . . . 93
320 Mozart, presto from string quartet # 7, E,
2/4 . . . . . . . . . . . . . . . . . . 93
321 Upidee, G, 4/4 . . . . . . . . . . . 93
8
IV-6 Other Perfect Fourths and
Fifths . . . . . . . . . . . . . . . .94
322 Mozart, opening from string quartet # 4,
C, 4/4. . . . . . . . . . . . . . . . . 94
323 folk song, G, 2/4 . . . . . . . . . . 94
324 La Rana (Mexico), D, 3/4 . . . . . . . 95
325 Poulton, Aura Lee, F, 4/4 . . . . . . 95
326 Weber, Softly Now the Light of Day, A, 2/495
327 Harris, After the Ball, B, 3/4 . . . . . 96
328 Sullivan, Take a Pair of Sparkling Eyes, F,
6/8 . . . . . . . . . . . . . . . . . . 96
329 Sullivan, Sing Hey to You, Good-Day to
You!, G, 2/4 . . . . . . . . . . . . . . 96
330 Foster, Slumber My Darling, E, 6/8. . . 96
331 Foster, Gentle Annie, E, 4/4 . . . . . . 96
332 Were You Ever in Rio Grand, B, 6/8. . . 97
333 Rimsky-Korsakov, Scheherezade (theme
from third movement), C, 6/8 . . . . . . . 97
334 Beethoven, opening movement from string
quartet # 1, F, 3/4 . . . . . . . . . . . 97
335 Mozart, trio from string quartet # 1, C, 3/497
336 Abt, Kathleen Aroon, G, 3/4 . . . . . . 97
337 folk song (Germany), D, 4/4 . . . . . . 98
338 Moore, Love’s Young Dream, G, 6/8. . . 98
339 Giordiano,, Caro Mio Ben, D, 4/4 . . . . 99
340 R´emon (Louisiana), F, 2/4. . . . . . . 99
341 Juanita, D, 3/4 . . . . . . . . . . . 99
342 Thompson, Lilly Dale, B, 4/4 . . . . .100
343 / . . . . . . . . . . . . . . . . .100
344 Pergolesi, aria from Stabat Mater, G, 4/4.100
345 Bach, menuet II from cello suite # 2, D,
3/4 . . . . . . . . . . . . . . . . . .100
346 Brahms, introduction, 1st symphony, C,
4/4 . . . . . . . . . . . . . . . . . .101
347 processional march song (Germany), D, 4/4 101
348 Milhaud, Chant de Sion, A, 4/4 . . . .101
349 Sagt Mir, O Sch¨ onste Sch¨af’rin Mein, A,
6/8 . . . . . . . . . . . . . . . . . .102
350 Gunhilde, F, 2/4. . . . . . . . . . .102
351 Ach, Englische Schaeferin, F, 3/4 . . . .102
352 Bach, Chorale, ‘W¨ar’ Gott Nicht Mit Uns
Diese Zeit’, C, 4/4 . . . . . . . . . . . .102
353 Handel, Angels Ever Bright and Fair, E,
4/4 . . . . . . . . . . . . . . . . . .103
354 Beethoven, allegro from string quartet #
6, B, 3/4 . . . . . . . . . . . . . . .103
IV-7 The Diminished Seventh
Chord, and the Harmonic Minor
Scale . . . . . . . . . . . . . . . .104
355 a, 4/4 . . . . . . . . . . . . . . .104
356 O Daniel (Florida), d, 4/4 . . . . . . .104
357 Bach, Invention 2, c, c/minor . . . . .104
358 Mozart, andante un poco allegretto from
string quartet # 5, a, 4/4 . . . . . . . . .104
359 Goldfaden, Raisins with Almonds, a, 3/4,
Lullabye . . . . . . . . . . . . . . . .105
V Nondiatonic Materials
107
V-1 Secondary Dominants and
Chromatic Passing Tones . . . .107
360 Luther, A Mighty Fortress Is Our God, D,
4/4 . . . . . . . . . . . . . . . . . .107
361 Kevin Barry (Ireland), C, 3/4. . . . . .107
362 Who Got Dirt on the Carpet Again?, c, 4/4107
363 Conkey, God is Love, His Mercy Brightens,
G, 3/4. . . . . . . . . . . . . . . . .108
364 Shoals, Valedictory, G, 4/4 . . . . . .108
365 Autrefois le Rat de Ville (France), G, 2/4 .108
366 Webbe, Come, Ye Disconsolate, B, 2/2 .109
367 Keller, Angel of Peace, F, 4/4 . . . . .109
368 Butterfield, When You and I Were Young,
C, 4/4 . . . . . . . . . . . . . . . .110
369 Woodbury, Speed Away! Speed Away!, A,
3/8 . . . . . . . . . . . . . . . . . .110
370 Mozart, aria from the Magic Flute, E, 3/8110
371 Let God’s Saints Come In (Virginia), G, 2/4 110
372 Vivo Penando (California), F, 2/4 . . . .111
373 Allan Maclean (Scotland), G, 3/4 . . . .111
374 Stradella, Ragion Sempre Addita, A, 3/8 .111
375 Dans le Port, Il Est Arriv´e (France), G, 2/4111
376 Root, Brother, Tell Me of the Battle, D,
3/4 . . . . . . . . . . . . . . . . . .112
377 Cooper, Beautiful Bells, A, 3/4 . . . .112
378 McNaughton, The Faded Coat of Blue, G,
4/4 . . . . . . . . . . . . . . . . . .112
379 Mozart, menuet from string quartet # 1,
C, 3/4. . . . . . . . . . . . . . . . .113
380 Haydn, adagio poco cantabile from string
quartet, Op. 73, #3 (‘Emperor’), G, 4/4 . . .113
381 Crep´ usculo (Mexico), D, 2/4 . . . . . .114
9
382 Media Noche (California), E, 2/4. . . .114
383 Pergolesi, tune from Stabat Mater, f, 4/4.114
384 Bach, Bourr´ee II from orchestral suite #2,
b, 4/4 . . . . . . . . . . . . . . . . .115
385 The Cruel Mother (England), E, 3/4 . .115
386 Hawthorne, Out of Work, A, 4/4 . . . .115
387 Joplin, The Easy Winners, C, 2/4 . . . .116
388 Edwards, In My Merry Oldsmobile, G, 3/4 116
389 Erlaube Mir, Fein’s M¨adchen, F, 3/4. . .116
390 Bach, Menuet I from orchestral suite #1,
G, 3/4. . . . . . . . . . . . . . . . .117
391 Handel, chorus from ‘Judas Maccabaeus’,
C, 4/4. . . . . . . . . . . . . . . . .117
392 Shackleton, The Orange and the Black, B,
4/4 . . . . . . . . . . . . . . . . . .118
393 Adelphi School Song, G, 4/4 . . . . . .118
394 Allen, Maid of Athens, G, 4/4 . . . . .118
395 Ascher, Alice, Where Art Thou?, B, 3/4 .119
396 Mozart, Duet No. 2, Menuet, from 12
Duets, K.V. 487, G, 3/4 . . . . . . . . .119
397 Schubert, Above the Mountains, A, 4/4 .120
398 Mozart, Duet from The Magic Flute, E,
6/8 . . . . . . . . . . . . . . . . . .120
V-2 Blue Notes . . . . . . . . . .121
399 The Graveyard (South Carolina), F, 2/4 .121
400 Roll, Jordan, Roll (United States), D, 2/4 121
401 Cyclone at Ryecove (Missouri), A, 3/4 . .121
402 Europe, Goodnight Angeline, G, 4/4 . . .122
403 ’Tis Me, O Lord (Unites States), A, 4/4 .122
V-3 Relative Minor and Major .123
404 Schwesterlein, g, 3/4 . . . . . . . . .123
405 Es Ritt ein Ritter, b, 6/8 . . . . . . .123
406 Cradle Song (Sweden), f, 2/4 . . . . .123
407 Bach, Chorale, ‘Befiehl du deine Wege’, b,
4/4 . . . . . . . . . . . . . . . . . .123
408 Bach, Chorale, ‘Das Walt’ Mein Gott,
Vater, Sohn’, d, 4/4 . . . . . . . . . . .124
409 Feinsliebchen, Du Sollst, a, 2/4 . . . . .124
410 Bach, Chorale, ‘Gib Dich Zufrieden und Sei
Stille’, e, 4/4 . . . . . . . . . . . . . .124
411 Crouch, Kathleen Mavourneen, C, 3/4 . .125
VI The C Clef . . . .127
412 C, 4/4 . . . . . . . . . . . . . . .127
413 C, 3/4 . . . . . . . . . . . . . . .127
414 The Ash Grove (Wales), C, 3/4. . . . .127
415 Haydn, menuet Oxford symphony, C, 3/4.127
416 folk song, C, 6/8 . . . . . . . . . .128
417 Wach’ Auf, Mein Hort, C, 6/8 . . . . .128
418 La Paloma Blanca (Arizona), C, 6/8. . .128
419 Holst, Venus theme from The Planets, G,
3/4 . . . . . . . . . . . . . . . . . .128
420 folk song, G, 6/8 . . . . . . . . . .129
421 Pergolesi, aria ‘Sancta Mater’ from Stabat
Mater, F, 4/4 . . . . . . . . . . . . . .129
422 Mozart, aria (Papageno) from ‘The Magic
Flute’, B, 2/4 . . . . . . . . . . . . .129
423 Haydn, finale, London symphony, D, 4/4 .129
424 Every Hour in the Day (Georgia), a, 2/4 .129
425 lullabye (Russia), a, 4/4 . . . . . . . .129
426 Feinsliebchen, Du Sollst, a, 2/4 . . . . .130
427 Crouch, Kathleen Mavourneen, G, 3/4 . .130
10
Chapter I
Rhythm
The rhythms in this chapter all come from well-known tunes. After reading them, you may want to
look at the titles, which are given in the table of contents. If you’re working with a teacher, you may
wish to clap the rhythm twice, with the teacher counting beats the first time, and singing the tune
the second time.
I-1 Whole, Half, and Quarter Notes
1
, . , , , . , , , , , , , , ,
2
, , , , , , . , , . , , . ,
3
, . , , . . . . , , , , , , , , , , , , ,
,
7
, , , , , , , , . . . , , . . .
4
, , . , , , , , . , , , , , , , , , . , , . . , , . ,
5
, , , , . , , , , , , . , , . , , , , . . , , . ,
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
6
4
3 .

.

, , , , , , . , .

. , . , . , . , . , , , , , . , , , , .

.
7
4
3 . , , , , .

, , , , .

.

.
I-3 Eighth Notes
8
, .

, , , , , , , , , , , , , .

, , , , , , , , , , , , , , ,
9
.
4
3 , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
10
, , . , , , , , , . , , , , , , , , , , , , , , , , , , . , , . ,
11
, , , , , , , . , , , , . , , , , , ,
I-4 Dotted Quarter Notes
12
, , , , , , , , , , , , , , , , , , , , . , , ,

,

, , , .
13
, ,

, , , , . , , , ,

,

, , ,

, , ,

,

, , , , ,

, , , , , , , , ,

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
14
, , .
4
3 , ,

,

, , , , , , , , , , , , . , ,

,

15
.

4
3 ,

,

, . , , , ,

, . , ,

,

, .

,

,
16
4
3

, , , , .

.

, , . , , ,

, , , , , . , , , , , , , , .

. ,

.

. , , . .

, ,

I-5 Sixteenth Notes
17
4
2 , , , , , , , , , , , , , , , , , ,
I-6 Dotted Eighth Notes
18
, . , ,

,

, , ,

, ,

, ,

, ,

, , , ,

,

,
19
.
4
3 , , , , , ,

, . . ,

, .

.

, , ,
20
, , , ,

, . . ,

,

, ,

,

,

,
I-7 Compound Time
21
,

8
6 , , , ,

, ,

, ,

,

, , , , ,

, , , , ,

, , , ,

,

, , , , ,

, , , , ,
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
21
, rhythm of Here We Go
Round the Mulberry Bush
I-5. Sixteenth Notes 15
22
8
6 , ,

, ,

, ,

,

,

,

, ,

,

,

, ,

, ,

,

, ,

, ,

,

, ,

23
,

8
6 , ,

, , ,

,

,

, ,

, , , ,

, ,

, ,

,

, ,

,

, ,

, , , , ,

, ,
24
8
12 , , ,

, ,

,

,

, , , , , , , , ,

,

,

, , , ,

, ,

,

, ,

, ,

I-8 Syncopation
25
, , ,

4
2 , , , , , , , , , , , , , , , , , ,
I-9 Triplets
26
, , , , , ,

, ,

, ,

, ,

, ,

, ,

, . ,

, ,
3
, ,
3
, , ,

, ,

, ,

,

,
,

,
5
, ,

, ,

, ,

, , ,

, ,

, ,

,

, ,

, ,

, ,

, ,

, ,

, ,

, ,

, ,

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
,
/
,
re
,
mi
,
fa
,
so
,
la
,
ti
,
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 syllables
are assigned to the other notes according to their role in the key. In the key of D, for example:
,
,
,
/
mi
,
fa
,
so
,
la
,
ti
,
do
,
do
,
re
,
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 do
system, in which ‘do’ is always C, ‘re’ is always D, and so on. The fixed do system is often taught to
European schoolchildren, who don’t know enough music theory to recognize the roles of the different
notes 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 between
musical notes, and is therefore an important component of musicianship even if you consider yourself
primarily 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 relationship
between the imagined pitches so as to be able to translate them into fingerings. The solfeggio syllables
are 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 sing
intervals, or to sing each note according to its role in the key. That is, we can hear each note in relation
to the preceding note, or in relation to the tonic. Suppose, for example, that we’re singing a piece of
music in the key of C major, and having just sung B, which is ‘ti,’ we see that the next note in the
melody is C, which is ‘do.’ In the first approach, we recognize this as the interval of a half-step (minor
second), 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 note
that sounds like it would be a good one to end the song on. In reality, one doesn’t use either technique
exclusively. 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 patterns
at 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 to
become a fluent sight singer by artificial devices. For instance, many people learn to recognize the
interval 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 the
preceding vowel long. But a fluent reader doesn’t look at the word ‘sure’ and think ‘silent E makes
the U long.’ Learning the phonics rules is necessary, but having learned them, we actually become
fluent 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 familiar
melodies. The leap of a major sixth in ‘My Bonnie’ is a leap from ‘so’ up to ’mi,’ but your brain will
probably 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’ and
one for ‘re-ti.’ Some might even do another two for the downward leaps ‘mi-so’ and ‘ti-re!’ This just
shows 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. If
you have an instrument at hand, play the tonic, and then sing enough notes from the tonic chord
to 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.
27 ,
/
,
·
,
,
,
,

, ,
,
,

,
,
,

,

28
,
,
/
,
.
,
,
.
,
,
,
.
,
,
.
.
29
4
3
/
, ,
,
,
,
.
,
,
,
, ,
,
, ,
,
, ,
,
,
, ,
,
,
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 your
brain 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
4
3
,
/
,
,
.
,
,
,
.

. ,
,
.
,
.
32
,
4
3
,
/
,
,
,

,

,
,
·
,

,
,
,
·
,

, ,
, ,
,
·
,
,
,
,
,
,
·
,
II-2. Melodies Containing Only Steps 19
33 ,
,
,
, ,
.
,
,
, ,
.
,
, , ,
,
, .
,
,
.
,
,
,
,
,
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Moderato
,
Note that the following two examples both have the tonic on the line at the center of the staff, so the
one with five sharps actually isn’t any more difficult to read.
36 ,
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37
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The following five melodies all begin on ‘so.’
38 , ,
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,
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,
,
, ,
We now begin moving around the circle of fifths in the opposite direction. ‘Ti’ in the previous key
is flattened, and becomes ‘fa’ of the new key. If you’re singing the new, flattened version of the note
correctly, you should be able to hear its strong tendency to resolve down to ‘mi.’
33
anonymous, carol (Bohemia)
34
J.S. Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’
35
Pierre Latour,
The Beautiful Angel
36
L.R. Lewis
38
L.R. Lewis
20 Chapter II. Major Keys
39
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41
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,
The following two melodies both have the tonic at the same place on the staff.
42 , ,
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43
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Canon for two voices:
44
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1
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2
,
Canon for two voices:
45
4
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45
L.O. Emerson, Whither Through the Meadow?
II-2. Melodies Containing Only Steps 21
46
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Canon for two voices:
47
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,
,
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22 Chapter II. Major Keys
48
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49
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50
8
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48
L.R. Lewis
49
L.R. Lewis
50
L.R. Lewis
II-2. Melodies Containing Only Steps 23
51
,
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17
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51
L.R. Lewis
24 Chapter II. Major Keys
II-3 Leaps to ‘Do’
52
4
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53
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Adagio
.
II-4 Leaps Back to Remembered Notes
54

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55 ,
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56 ,
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7
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55
J.S. Bach, Chorale, ‘Seelenbr¨ autigam, Jesu, Gottes Lamm’
56
J.S. Bach, Chorale, ‘Jesu, meiner Seelen Wonne’
II-3. Leaps to ‘Do’ 25
The following example uses both leaps back to remembered notes and leaps to the tonic.
57 ,
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.
The next tune is easier than it appears, because you only need to return to the same note after each
low G.
58
4
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58
folk song
26 Chapter II. Major Keys
II-5 Easy Leaps Within the Tonic Triad
This section introduces leaps of a third, a fourth, and an octave within the tonic triad.
famous tune (identified in the table of contents)
59
4
3 ,
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60 ,
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61
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62 ,
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7
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63
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Allegretto
·
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64
4
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Allegro
,
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63
W.H. Latham, Broadway Sights
64
anonymous, A la Claire Fontaine (France)
II-5. Easy Leaps Within the Tonic Triad 27
65 ,
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67 , ,
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68
8
12
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69

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70
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65
Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater
66
A.S. Sullivan
67
anonymous, A Recou-
vrance (France)
68
Froebel, Pat-a-Cake
69
anonymous, Carmela (Mexico)
70
anonymous, My Father, How Long?
(Florida)
28 Chapter II. Major Keys
71 , ,
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6
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72 ,
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73 , ,
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74 ,
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71
J.S. Bach, Chorale, ‘Es ist gewisslich an der Zeit’
72
anonymous, Annie Laurie
73
H.S. Cutler, The Son of God
Goes Forth to War
74
Martin Luther, We Come Unto Our Father’s God
II-5. Easy Leaps Within the Tonic Triad 29
,
/
7
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75
4
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5
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76 , ,
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77
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Allegretto
,
The following example includes a leap of a sixth, but it’s an easy leap back to ‘do.’
78
4
2 ,
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,
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,
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,
,
Con moto
75
anonymous, Lawlan’ Jenny (Scotland)
76
Stephen Foster, Hard Times Come Again No More
77
H. Burgess Weston,
Row, Burnie, Row
78
anonymous, En Revenant d’Auvergne (France)
30 Chapter II. Major Keys
This four-part canon includes a leap of a sixth to ‘do.’
79
.
, ,
/
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,
4
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2
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,
1
79
anonymous, Entendez-Vous Sur l’Ormeau (France)
II-5. Easy Leaps Within the Tonic Triad 31
II-6 The Leap of a Fifth Within the Tonic Triad
80 ,
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/
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81
4
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7
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82
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Allegro
, .
83

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16
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82
Alessandro Scarlatti, Su, Venite a Consiglio
83
J.J. Rousseau, Hush, My Babe
32 Chapter II. Major Keys
84
4
2 ,
/
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·
,

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85
8
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,
Grazioso
,
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5
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86 , ,
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Moderato
,
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5
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87
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3
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88
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Andante

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84
anonymous, Dans la Forˆet Lointaine (France)
85
anonymous, The Beggar Girl (England)
86
Alice Hawthorne,
Home, By and By
87
Froebel, Beckoning the Pigeons
II-6. The Leap of a Fifth Within the Tonic Triad 33
II-7 Leaps of a Sixth Within the Tonic Triad
89
.
,
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/
, ,
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Allegro vivace
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91
Franz Wohlfahrt, Etude, Op. 45, #1
92
anonymous, As-Tu Vu la Casquette? (France)
93
anonymous, Praise,
Member (South Carolina)
94
Froebel, Beckoning the Chickens
34 Chapter II. Major Keys
95
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The next example includes both leaps within the tonic triad and leaps to ‘do.’ Because of its wide
range, it is given in two keys; make sure to choose a key in which you can actually reach all the notes!
96
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Another example that includes leaps to ‘do.’
98 , ,
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95
folk song
96
anonymous, Poor Rosy (South Carolina)
97
anonymous, Poor Rosy (South Carolina)
98
W.T.
Wrighton, The Dearest Spot on Earth
99
anonymous, Absent Davie (Scotland)
II-7. Leaps of a Sixth Within the Tonic Triad 35
100 ,
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Canon for two voices:
101

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1
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36 Chapter II. Major Keys
II-8 Leaps Within the Dominant
This section introduces leaps of a third within the dominant. Fourths, fifths, and sixths are included
in section II-9, and leaps of a seventh within the dominant chord are deferred until section IV-5.
famous tune (identified in the table of contents)
102 , ,
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Un poco allegretto

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103
W.A. Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487
104
folk song
105
anonymous, Derri`er’ Chez Nous il y
a Trois Fleurs (France)
106
John Parry, Villikins and His Dinah
107
anonymous,
¨
Annchen von Tharau (Germany)
II-8. Leaps Within the Dominant 37
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Moderato
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110
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Maestoso
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108
anonymous, Ah! Mon Beau Chˆ ateau! (France)
109
anonymous, Ainsi Font, Font, Font (France)
110
John Husband,
Revive Us Again
111
anonymous, Lightly Row (Spain)
112
anonymous, God Speed the Right (Germany)
38 Chapter II. Major Keys
/
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Hell und freudig
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113
W.A. Mozart, aria (Papageno) from ‘The Magic Flute’
114
anonymous, Sch¨ onster Schatz, Mein Engel
115
anonymous,
Down in the Valley
116
anonymous, Musieu Bainjo (Louisiana)
117
anonymous, Brother, Guide Me Home (Tennessee)
118
anonymous, Serenata (California)
II-8. Leaps Within the Dominant 39
119
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120

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Allegretto con grazia
119
W.A. Mozart, adagio from string quartet # 1
120
J.S. Bach, Chorale, ‘Es spricht der Unweisen Mund wohl’
121
Nikolaus Beuttner, Es kam ein treuer Bote
122
J.S. Bach, Chorale, ‘Valet will ich dir geben’
123
J.S. Bach, Chorale,
‘Wie bist du Seele in mir so gar betr¨ ubt’
124
anonymous, Gardez Piti Milatte-l` a (Louisiana)
40 Chapter II. Major Keys
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126 ,
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127

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128
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129 ,
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130
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125
anonymous, Shout On, Children (Georgia)
126
Franz Schubert, Wohin?
127
J.S. Bach, Chorale, ‘Liebster Jesu, wir
sind hier’
128
Franz Joseph Haydn, menuet Oxford symphony
129
J.S. Bach, Chorale, ‘Mach’s mit mir, Gott, nach
deiner Gut’
130
Franz Schubert, Halt!
II-8. Leaps Within the Dominant 41
131
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132
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133
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Moderato

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131
Gustav Holst, Venus theme from The Planets
132
anonymous, Serenata (California)
133
anonymous, If Your Foot
Is Pretty, Show It (United States)
42 Chapter II. Major Keys
II-8. Leaps Within the Dominant 43
II-9 Wider Leaps Within the Dominant
This section introduces leaps within the dominant as broad as a sixth. Leaps of a seventh are deferred
until section IV-5.
famous tune (identified in the table of contents)
135
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137

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136
anonymous, Eli Yale
137
anonymous, Krambambuli
138
anonymous, Go ’Way, Old Man (Louisiana)
44 Chapter II. Major Keys
139
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140
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142
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143
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Un poco allegretto
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7
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144
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139
anonymous, Our Baby (France)
140
anonymous, Aux Marches du Palais (France)
141
J.S. Bach, Chorale, ‘Herr,
wie du willst, so schick’s mit mir’
142
J.S. Bach, minuet
143
anonymous, Arlequin Tient Sa Boutique (France)
144
anonymous, Ballade de Roland (France)
II-9. Wider Leaps Within the Dominant 45
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145
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146
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·
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,

,
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147
4
2
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11
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,
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145
folk song
146
anonymous, Tu Eres Mas Bella (Costa Rica)
147
anonymous, Praise, Member (South Carolina)
46 Chapter II. Major Keys
148
8
6 ,
/
,
,
·
,
·
,
,
·
, ,
·
,

,

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·
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,

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,
Mit kraeftiger Leidenschaft

,
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7
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149 ,
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150 ,
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6
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11
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151 ,
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.
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, .
,
,
.
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,
, ,
,
.
,
.
,
,
.
,
,
148
anonymous, Wach’ Auf, Mein Hort
149
anonymous, Barbara Allan (Scotland)
150
anonymous, I’m a Pilgrim (Italy)
151
Franz Joseph Haydn, finale, London symphony
II-9. Wider Leaps Within the Dominant 47
152
4
2 ,
/
, , .
, .
,
,
, .
,
, ,
,
Allegro
,
,
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/
7
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153
4
3 ,
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3
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3
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3
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3
154 , ,
/
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,
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,
Lebhaft, doch zart
,
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6
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11
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155 ,
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,

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,
Allegretto
,
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/
6
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,
·
.
, ,
,
·
,
,

,
·
. ,
,
,
,
,
,
·
152
anonymous, Dans Notre Jardin (France)
153
anonymous, The Gypsy Warning (Missouri)
154
anonymous,
Jungfr¨ aulein, Soll Ich Mit Euch Gehn
48 Chapter II. Major Keys
156
8
6 ,
,
,
,
/
, ,
,

, ,
·
,
,

,
,

, ,

,

,
·
,
,

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,
Molto mesto

,

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,
157
4
3 ,
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,
Allegretto comodo
,
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/

9
,
.

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158

8
6 ,
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9
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·
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,
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,
,
,
159 ,
8
4 ,
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/
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·
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,
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,
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,
,

160
4
3
/
.

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,
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,
,
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,
,
,
,
, ,
,
,
,
,
, ,
,
, ,
,
Andante
,
156
Richard Strauss, Not Yet
157
anonymous, Ah, Suzette, Ch`ere (Louisiana)
158
anonymous, La Paloma Blanca
(Arizona)
159
Franz Schubert, Das Wandern
II-9. Wider Leaps Within the Dominant 49
161
4
3 ,
,
,
/
,
.
,
,

,
,

,
,
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,

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/
5
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,

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,

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,
162
4
3 ,
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9
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.

.
,
,
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/
17
,

,

D.S. al fine
,

,
,
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,

,
,

,
,

,
,
,
,

,
,
Fine
,
8
3
,
,
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.
163
8
6
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,

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,

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·
164 , ,
,
/
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,
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,
,
,
,
,
,
,
,
.
.
, ,
,
,
,
,
,
,
,
,
161
anonymous, Chill Ether (Scotland)
162
folk song
163
folk song
164
J.S. Bach, Chorale, ‘Nun ruhen alle Walder’
50 Chapter II. Major Keys
,
,
/
6
,
,
,
,
,
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,
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,
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165 ,
,
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/
5
,
,
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,

,
166
4
3
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/
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3
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167
4
2
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,

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,
Andante
168
4
2 ,
/
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Anmutig

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/
8
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, ,
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, ,
,
,
,
,
,
·
,
165
J.S. Bach, Chorale, ‘Wenn wir in h¨ ochsten N¨ oten sein’
166
anonymous, The Duke of Argyle’s Courtship (Scotland)
167
Harold Samuel, The Fairy Boat
168
anonymous, Gar Lieblich Hat Sich Gesellet
II-9. Wider Leaps Within the Dominant 51
Canon for two voices:
169 , ,
,
/
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,

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2
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,

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.

,
,
,
1
.
52 Chapter II. Major Keys
Chapter III
Minor Keys
III-1 Solfeggio in the Minor Mode
Some people sing in the minor mode using these solfeggio syllables:
,
re
,
do
, ,
,
,
/
,
te
,
,
le
,
,
so
,
fa
,
me
,
so
,
la
¸
,
ti
¸
,
do
,
do
,
do
,
re
,
me
,
fa
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 of
the notes stay the same when switching between the parallel major and minor.
Others prefer this:
,
do
,
ti
,
la
, ,
,
,
/
,
so
,
,
fa
,
,
mi
,
re
,
re
,
me
,

¸
,
si
¸
,
la
,
la
,
la
,
ti
,
do
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 first
one, 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 chromatic
scale looks like this:
,
/
,
la
,
li
,
,
ti
,
do re
,
ri
,
,
mi
,
fa
,

,
,
so
,
si
,
,
do
,
di
,
,
,
ra
,
,
do
¸
/ ,
se
,
,
fa
¸
,
mi
,
me
,
,
re
¸
,
ti
,
te
,
,
la
¸ ,
le
,
,
so
¸
,
do
The important thing is to pick a system and learn it thoroughly. (I use my own enharmonic system
in which the chromatic scale is ‘do gu ri bu mi fa ka so ja la pa ti do.’)
54 Chapter III. Minor Keys
III-2 Steps
The purpose of the first exercise is to get used to the solfeggio syllables used in minor.
170

,
/
,
, ,
,
,
,
,
,
,
,
,
,
. ,
,
,
,
,
,
,
,
,
, , ,
,
,
,
,
,
,
Poco a poco accelerando
171
8
6
/
,
,
,
,
,
,
,

,

, ,
,
,
·
,

,
,
·
,
172
4
3
/
,
,
·
, , ,

.
·
,
,
,
·
,
,
, ,
,
·
,
,
,
, ,
Largo
·
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.
173
4
3
/
, ,

.
, ,
,
,

,
,
,
·
,
,
,
,
, ,
·
,
,
,
,
,
, ,
,
,
·
, ,
,
·
,
,
,
, ,
, ,
,
Largo

, ,
,
,
·
174
4
3
/
,
,
.
,
, ,
, ,
,
,
,
,
,
,
, ¸
,
,
, ,
,
,
, ,
,
,
,
175
4
3
/ , ¸
,
.
,
,
,
. ,
,
,
,
.

, ,
,
,
.
/
8
,
. ,
,
,
,
.
, ,
. ,
,
,
,
.
,
, ,
.
,
174
L.R. Lewis
175
L.R. Lewis
III-2. Steps 55
176
.
, ,
/
,
,
,
, ¸
, ,
,
,
,
,
,
,
,
,
,
177 , ,
/
,
,
,
,
, ,
.
,
,
.
, ¸
,
,
,
,
,
178
4
3 ,
/
.
, , ,
,
, ¸
, ,
, ¸
, ,
,
, ¸
,
,
, ,
,
,
, ,
, ,
,
,
,
,
,
,
,
, ,
,
, ,
,
, , ,
,
,
179
2
3 ,
/
.
.
.
, . ,
,
.
,
,
,
. ,
.
. ¸
.
,
,
. ¸
. ,
.
.
.
,
180 , ,
,
/
, ,
, ,
,
,
, ,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
.
,
,
/
4
, ,
,
,
,

, ,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
, ¸
,
, ,
181
,
,
,
/
.
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
176
L.R. Lewis
177
L.R. Lewis
178
L.R. Lewis
179
L.R. Lewis
180
J.S. Bach, gavotte in G minor
181
L.R. Lewis
56 Chapter III. Minor Keys

,
/
5
,
,
, ¸
,
,
,
,
.
,
,
.
,
,
,
,
,
.
,
,
,
,
,
,
,
,
.
,
,
. ,
,
,
.
,
,
,

,
/
9
,
,
,
.

,
,
,
,
,
,
,
,
,
,
,
.
,
,
,
,
,
, ¸
,
,
,
,
,
,
,
,
,
,
,
,
,
.

III-2. Steps 57
III-3 Leaps Within the Tonic Triad
182 ,
,
,
,
,
,
,
,
.
,
.
,
,
,
,
.
,
,
. ,
,
. ,
,
. ,
, ¸
. , ,
183 ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
184
4
3
,
,
,
,
,
,
.
,
,
,
,
, ,
,
,
,
.

, ,
, ¸
,
,
,
,
,
,
,
,
,
,
, ,
,
,
185
,
3
,
·
.
,
,
,
,
,
,
,
3
,
·
,
,
,
186
4
3
,
,
,
,
.
,
,
,

,
·
.
,
,

.
,
,
·
,
,

.
,
,
,
.

,
,
,
,
9
,
,
,

¸
,
·
¸
,
,
,

.
,
·
,
,

. ,
,
187 ,
,
,
,
,
,
, ¸
,
,
,
,
,
,
, .
,
,
,
,
,
,
,
,
,
,
,
,
,
,
5
,
, ¸
,
,
,
,
, ¸
,
,
,
,
,
,
,
,
,
, ,
,
, ¸
,
184
G.A. Wedge
185
Who Got Dirt on the Carpet Again?
58 Chapter III. Minor Keys
188
4
2 ,
,
,
,
/
.
,
,
, ,
,
.
,
,
,
,
,
, ,
,
,
,
,
189
4
2 ,
,
,
,
/
,
,
,
, ¸
. ,
,
,
,
,
,
,
.
,
,
,
,
,
,
190
/
.
4
2 ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
191 , ,
,
,
,
/ ,

.
, , .
,
¸
, ¸
,
, ,
,
.
,
,
,
,
,
192 ,
/ ,
, ,
, ,
.
. , ,
,
,
.
.
,
, ,
, ,
.
. , ,
,
/
7
,
.
.
.
, ,
,
.
, ,
, ,
.
, ,
, ,
.
193
4
2
,
/ ,
,
, ,
,
,
,
,
,
,
,
,
, , , ,
, ,
,
,
,
,
,
, ,
, ,
,
, ,
,
, ,
·
194
4
3
/
,
,
,
,
,
,
,
,
,
.
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,

188
G.A. Wedge
189
G.A. Wedge
190
G.A. Wedge
192
J.S. Bach, Chorale, ‘Herr, nun lass in Friede’
193
anonymous,
Every Hour in the Day (Georgia)
194
anonymous, Forget na’, dear Lassie (Scotland)
III-3. Leaps Within the Tonic Triad 59
/
6
,
,
,
,
,
,
,
,
,
,
. ,
,
,
,
,
,
,

,
,
,
,

/
11
,
,
,

, .
,
,
,
,
,
,
,
,
,
.
,
,
,
,
,
,

195 , ,
,
/
,
,
, ,
, ,
.

,
,
,
.
,
, ,
,
.
, ,
,
,
,
,
famous tune (identified in the table of contents)
196
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195
J.S. Bach, Chorale, ‘Es steh’n vor Gottes Throne’
197
anonymous, Thou Poor Bird
60 Chapter III. Minor Keys
III-4 Leaps Within the Dominant
198
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famous tune (identified in the table of contents)
200 , ,
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201
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Vivace

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198
G.A. Wedge
199
G.A. Wedge
202
G.A. Wedge
203
G.A. Wedge
III-4. Leaps Within the Dominant 61
204
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205

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206 ,
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207
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208
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Draengend, doch nicht schnell

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204
G.A. Wedge
205
J.S. Bach, melody from the notebook for Anna Magdalena
206
anonymous, lullabye (Russia)
207
anonymous, Las Tristes Horas
208
G.A. Wedge
209
Froebel, The Wolf
210
anonymous, Guten Abend
62 Chapter III. Minor Keys
211
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Andantino
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211
J.S. Bach, Gavotte II from cello suite # 5
212
anonymous, Lolotte (Louisiana)
213
W.A. Mozart, menuet from string
quartet # 15
214
anonymous, Los Ojos Mexicanos (Mexico)
215
Maude Valerie White, Ophelia’s Song
216
J.S. Bach,
Chorale, ‘Nun sich der Tag geendet hat’
III-4. Leaps Within the Dominant 63
217 ,
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Allegro marziale
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219
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220 ,
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217
anonymous, Reir Es Necesario (Mexico)
218
anonymous, En Avant, Gr´enadiers! (Louisiana)
219
anonymous, Angel
de Mis Amores (Mexico)
220
Franz Schubert, Am Feierabend
221
J.S. Bach, Chorale, ‘O Traurigkeit, o Herzeleid’
64 Chapter III. Minor Keys
222 ,
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224 , ,
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226
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222
Johannes Brahms, Nachtwache 1
223
anonymous, Mi Sue˜ no (Mexico)
224
J.S. Bach, Chorale, ‘O Haupt voll Blut
und Wunden,’ from St. Matthew’s Passion
225
J.S. Bach, Chorale, ‘Von Gott will ich nicht lassen’
226
G.A. Wedge
III-4. Leaps Within the Dominant 65
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227
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35
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227
G.A. Wedge
228
G.F. Handel, aria ‘O Jordan, Sacred Tide’ from Esther
66 Chapter III. Minor Keys
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229 ,
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III-4. Leaps Within the Dominant 67
68 Chapter III. Minor Keys
Chapter IV
Other Diatonic Materials
IV-1 Leaps Between the Tonic and Dominant
The following three songs contain the leap from ‘ti’ to ‘mi.’
230
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Allegro giusto
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The next three use leaps of a diminished fourth, an interval which sounds like a major third, and is
typical of minor keys.
233 ,
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230
anonymous, Ya Viene El Alba (California)
231
Alessandro Scarlatti, Gi` a il Sole dal Gange
232
Franz Schubert,
Danksagung an den Bach
233
Grieg
234
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235 , ,
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234
anonymous, zandunga folk song (Southern Mexico)
235
Giulio Carcini, Amarilli, Mia Bella
70 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.
236
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237
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Allegro
, ,
More commonly, the melody leaps into or out of ‘la’ without spelling out the subdominant chord
explicitly. Although dominant harmony can often be implied strongly with only one or two notes, this
is not usually true of the subdominant, because of its weaker character. Since thirds are the most
common leaps, the most important new leaps to learn to sing are the ones between ‘do’ and ‘la’ and
between ‘fa’ and ‘la.’ This melody leaps from ‘do’ to ‘la:’
238
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This one jumps from ‘la’ to ‘fa:’
239
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famous tune (identified in the table of contents)
240 ,
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236
anonymous, Jehovah, Hallelujah (South Carolina)
237
anonymous, Arlequin Marie Sa Fille (France)
238
folk song
239
folk song
IV-2. Leaps Within the Subdominant, Major Keys 71
.
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,
.
A great deal of Scottish folk music uses a major scale that omits ‘ti.’ ‘Fa’ is sometimes left out as
well, forming a five-note, or pentatonic, scale. Once one’s ear adjusts to the sound of the scale, the
characteristic leap between ‘do’ and ‘la’ no longer sounds like a leap at all. Of the following two
examples, the first is pentatonic, while the second uses the full major scale. The first example has
been notated with the style’s typical elaborate ornamentation, which you may wish to ignore.
241
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242
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241
anonymous, Lang Johnny More (Scotland)
242
anonymous, The Bonniest Lass in a’ The Land (Scotland)
72 Chapter IV. Other Diatonic Materials
243 ,
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244
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Sanft bewegt
,
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245
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Andante
246
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,
Moderato
,
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247
4
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248 ,
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249
8
6 ,
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,
Animato

,
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9
,
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·
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·
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,

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,
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·
,
,

,
243
anonymous, Old Hundred
244
anonymous, Da Unten Im Tale
245
anonymous, I Want To Be Ready (United States)
246
G.B. Fasolo, Cangia, Cangia Tue Voglie
247
anonymous, The Ash Grove (Wales)
248
W.H.C. West, The Jenny Lind
Mania (United States)
249
anonymous, Au Jardin de Mon P`ere (France)
IV-2. Leaps Within the Subdominant, Major Keys 73
250
,
.
,
/
, ,
·
,

,
·
,

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,

Moderato
,

251
4
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252
2
3 ,
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Andante sostenuto
.
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8
,
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253
8
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,

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,

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,
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,

,
,

,
250
Richard Strauss, Devotion
251
anonymous, I Ride an Old Paint (United States)
252
J.G. Whittier, Song of the Free
253
G.F. Handel, aria ‘Hush ye pretty warbling quire’ from Acis and Galatea
74 Chapter IV. Other Diatonic Materials
254 , ,
/
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.
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,
.
.
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.
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/
7
,
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255
8
6 ,
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,

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14
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256
4
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17
.
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,
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,
,
, .
, . .
254
Thomas Tallis, If Ye Love Me
255
anonymous, The Huntsman
256
Thomas Moore, Evening Bells
IV-2. Leaps Within the Subdominant, Major Keys 75
257 ,
,
,
,
/
,
,
, ,
,
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,

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5
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10
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258 ,
,
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.
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.
259
4
3
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260 ,
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8
,

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,

.
,

,
,

,

,

,
,

,

.
,

,
,
.
.
.
,
,
257
anonymous, Sinner Won’t Die No More (Tennessee)
258
W.A. Mozart, opening from clarinet quintet
259
anonymous,
The Gold Band (Tennessee)
260
Giovanni Battista Pergolesi, tune from Stabat Mater
76 Chapter IV. Other Diatonic Materials
,
/
15
,
,
,
,
,
,
,

,

,
,
,

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261
8
6
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262
8
6 ,
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,

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·
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,
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,
,
,
,

, ,
,

Moderato
,

263 ,
,
,
,
,
,
,
,

,

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,
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,

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·
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,
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6
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11
,

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,
,
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264
4
2 ,
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,
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,
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,

,
,
,
, ,
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,
,
,
261
anonymous, Bonnie Wee Window (Arkansas)
262
J.S. Fearis, Beautiful Isle of Somewhere
263
W.B. Bradbury, He
Leadeth Me
264
M.D. Sullivan, The Blue Juniata
IV-2. Leaps Within the Subdominant, Major Keys 77
,
/
9
,
,
,
,
, ,

,
, ,
,
,
,
,
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,

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265 ,
,
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.

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,
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,,,
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,
,
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,
266
/
,

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3
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267
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,

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,
268
4
2
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,
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,
,
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,
Allegretto
,
,
,
,
,
,
9
,
,
,
,

,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
269
8
6
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,
,
,
,
,
,
,
,

,
, ,
,
,
,
, ,
,
,
,
,
,
,
265
anonymous, Red River Valley
266
anonymous, I’m In Trouble (Florida)
267
Franz Joseph Haydn, introduction,
London symphony
268
anonymous, Rosa Lee
269
anonymous, My Lodging Is On the Cold Ground
78 Chapter IV. Other Diatonic Materials
,
,
,
,
5
,
,
·
,
,

,
,
,
,
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9
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,
13
,

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,
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,
,
,
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,
270
8
12
,
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271
8
6 ,
/

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272
4
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,
,
,
.
, ,
,
270
anonymous, Cowboy’s Home Sweet Home (Arkansas)
271
anonymous, Calinda (Louisiana)
272
anonymous, The
Braes O Yarrow (Scotland)
IV-2. Leaps Within the Subdominant, Major Keys 79
273
4
3
, ,
,
.
,
, ,
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,

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Maestoso
,
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7
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.
,
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274
4
3
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275
4
3
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3
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7
, ,
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3
276 ,
/
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.

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.
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,
277
/
,
,

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3
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,
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,
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273
anonymous, Gaudeamus Igitur
274
W.A. Mozart, andante from string quartet # 2
275
anonymous, The Wild Moor
(Missouri)
276
Johannes Brahms, introduction, 1st symphony
277
anonymous, Caroline (Louisiana)
80 Chapter IV. Other Diatonic Materials
278
8
6 ,
,
,
/
,
,

,
,
·

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, ,

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,
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,
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·
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5
,
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,
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·
,
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279
4
3
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3
280
4
3
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8
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,
,
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,
281
4
2
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/
,
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,
·
.
,
,
,
·
,
,
,
,
,
·
,
,
Adagio
,
·
,
,
/
9
,
.
,
,
,
,
,
,
,
,
·
,
,
,
,
,
,
,
·
,
,
278
anonymous, Avril (France)
279
W.A. Mozart, menuet from string quartet # 10
280
anonymous, The Hallowed Spot
(Missouri)
281
anonymous, folk song (Russia)
IV-2. Leaps Within the Subdominant, Major Keys 81
282
4
2
,
,
,
,
.
,
·
,
,
, ,

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,
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8
,

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,

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·
,
,
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283
4
2 ,
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,
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, ,
,
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,
Allegretto mosso

,
,
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,
/
6
,
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,
,
,
,
,
,
,
,
,
,
,
·
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,

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/
12
,
,
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,
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,
,
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,
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·

,
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/
17
,
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22

, ,
,
,

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,

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,
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,
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,
,
,
,
,
284 ,
,
,
,
,
/
, , ,
,
,
,
,
,
.

,
.

,
,
,
,
,
,
,
,
Gehalten und empfindungsvoll
282
anonymous, The Ship That Never Returned (Missouri)
283
Pier Domenico Paradies, M’ha Preso Alla Sua Ragna
284
anonymous, Die Sonne Scheint Nicht Mehr
82 Chapter IV. Other Diatonic Materials
,
,
,
,
/
6
,
,
,

,

,
,
,
,
,
,
,
4
3
Lebhaft

,
,
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.
,
,
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,
.
,
,
,
,
/
10
,
.
,
.
,
, ,
·
,
,

,
,
,
,
,
,
,

,
,
,
,
,
285
8
6
/
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·
,
, ,
,

,

,
·
,
,
·
,

,
,

,
,

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Moderato
,

,
,

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/
7
,

,
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,
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,

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,

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Vivace

,

,
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,
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,
/
13
,
,

,

, ,
,
,

, ,

, ,
,

,
, ,
·
,
,

,
285
anonymous, Ubi Bene, Ibi Patria
IV-2. Leaps Within the Subdominant, Major Keys 83
IV-3 Wide Leaps Within the Subdominant
286
4
2
/
,
,
,
,
,
,
,
, , ,

,
,

,
,

,
,

,
,
,

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,
,

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/
9
,
,

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·
,
,

,

,
,

,
,
,
·
,
,

,

,

,
,

,

,

,
,

,

,

287
4
3 ,
,
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286
W.A. Mozart, presto from string quartet # 4
287
J. Ellor, Diadem
288
W.A. Mozart, rondo from string quartet # 6
289
anonymous, Adieu, Bonne Hˆ otesse (France)
84 Chapter IV. Other Diatonic Materials
290
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291
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290
anonymous, Derri`ere Chez Moi (France)
291
Stephen Foster, The Song of All Songs
292
S.W. Gladden, The
Mountains
IV-3. Wide Leaps Within the Subdominant 85
IV-4 Leaps Within the Subdominant, Minor Keys
293
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295
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297
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293
G.A. Wedge
294
G.A. Wedge
295
G.A. Wedge
297
anonymous, Hanukah O Hanukah
86 Chapter IV. Other Diatonic Materials
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Allegretto
298
anonymous, Vivo Llorando la Suerte (Mexico)
299
W.A. Mozart, Osanna (bass solo, allegro) from Sanctus, Requiem
300
J.S. Bach, trio from Brandenburg concerto # 1
301
anonymous, Que No Te Amo (Mexico)
302
anonymous, folk song
(Russia)
IV-4. Leaps Within the Subdominant, Minor Keys 87
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303
anonymous, folk song (Russia)
304
anonymous, Entre Vous Tous Gens de la Ville (France)
88 Chapter IV. Other Diatonic Materials
IV-5 Leaps of a Seventh
With leaps of a seventh, as with any very broad leap, the most common problem is simply the
inability to reach the note. Make sure to sing each example in an appropriate key. If the leap of a
seventh 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 that
are ugly as well, and therefore composers don’t write them; in real music, most leaps of a seventh
occur 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 them
on demand, that’s a fundamentally unnatural way to think about melody; keep in mind that most of
the examples in this section are folk songs created by people who were illiterate, and probably could
not have performed such a trick themselves.
Another technique for use when all else fails is to imagine the seventh as a downward step, with the
second note moved up an octave. In all the following examples, however, we’ll see that there are better
solutions arising naturally from the logic of the melodic line.
The first example is easy, because the leap begins a repetition.
305
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The next two examples are not much harder; there is repetition, but at a pitch one step higher.
306
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305
W.A. Mozart, menuet from string quartet # 8
306
C. Hess, Little Charley Went a Fishing
307
folk song
IV-5. Leaps of a Seventh 89
In the next tune, the leap upward from ‘ti’ to ‘la’ is heard as the inversion of the earlier step down
from ‘ti’ to ‘la.’
308
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The next example has a leap of a seventh as part of a dominant seventh chord. It resolves downward
to ‘mi,’ and this ‘fa-mi’ relationship is one of the most prominent landmarks of the key, so you may
find that the easiest way to hit the ‘fa’ is simply by locating ‘fa-mi.’
309
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This tune, like the preceding one, uses the familiar ‘so-fa-mi’ pattern. The leap is also made easier
because we’ve just sung ‘fa’ in the low register, and because, looking ahead, we anticipate the de-
scending scale ‘fa-mi-re-do.’
310
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308
anonymous, Carmela (Mexico)
309
W.A. Mozart, menuet from string quartet # 1
310
anonymous, Gwine Follow
(South Carolina)
90 Chapter IV. Other Diatonic Materials

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Another ‘so-fa-mi’ example. The ‘fa’ is heard as part of a logical progression of prominent high points
in the line.
311
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311
Felix Mendelssohn, aria ‘If with all your hearts ye truly seek me’ from Elijah
312
T.H. Bayly, Long, Long Ago
313
anonymous, Cradle Song
IV-5. Leaps of a Seventh 91
314
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315
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316
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317
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318
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314
anonymous, Widdecombe Fair (England)
315
anonymous, Walk, Shepherdess, Walk (Arkansas)
316
anonymous, Reir
Es Necesario (Mexico)
317
anonymous, folk song (Russia)
318
anonymous, A Quinze Ans (France)
92 Chapter IV. Other Diatonic Materials
319
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3 ,
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320
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319
W.A. Mozart, menuet from string quartet # 8
320
W.A. Mozart, presto from string quartet # 7
321
anonymous,
Upidee
IV-5. Leaps of a Seventh 93
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 without
perceiving a dominant chord. Although other leaps of a fourth or a fifth may imply other triads, in
real music they are more commonly produced not by the harmony but by the logic of the melody
itself. 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.
322 ,
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,

In this example, the leap from ‘la’ to ‘re’ is heard as an imitation of the preceding ‘so-do’ leap.
323
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Here, we really have the easy ‘so-mi’ leap, but with ‘la’ interposed.
324
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322
W.A. Mozart, opening from string quartet # 4
323
folk song
324
anonymous, La Rana (Mexico)
94 Chapter IV. Other Diatonic Materials
,
·
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14
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famous tune (identified in the table of contents)
325 ,
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327
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326
C.M. von Weber, Softly Now the Light of Day
327
Charles K. Harris, After the Ball
IV-6. Other Perfect Fourths and Fifths 95
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A.S. Sullivan, Take a Pair of Sparkling Eyes
329
A.S. Sullivan, Sing Hey to You, Good-Day to You!
330
Stephen
Foster, Slumber My Darling
331
S.C. Foster, Gentle Annie
96 Chapter IV. Other Diatonic Materials
332
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332
anonymous, Were You Ever in Rio Grand
333
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334
Beethoven, opening movement from string quartet # 1
335
W.A. Mozart, trio from string quartet # 1
336
Franz
Abt, Kathleen Aroon
IV-6. Other Perfect Fourths and Fifths 97
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anonymous, folk song (Germany)
338
Thomas Moore, Love’s Young Dream
339
Attributed to Guiseppe Giordiano,,
Caro Mio Ben
98 Chapter IV. Other Diatonic Materials
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340
anonymous, R´emon (Louisiana)
341
anonymous, Juanita
342
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IV-6. Other Perfect Fourths and Fifths 99
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344
Giovanni Battista Pergolesi, aria from Stabat Mater
345
J.S. Bach, menuet II from cello suite # 2
346
Johannes
Brahms, introduction, 1st symphony
100 Chapter IV. Other Diatonic Materials
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347
anonymous, processional march song (Germany)
348
Darius Milhaud, Chant de Sion
349
anonymous, Sagt Mir, O
Sch¨ onste Sch¨ af ’rin Mein
IV-6. Other Perfect Fourths and Fifths 101
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350
anonymous, Gunhilde
351
anonymous, Ach, Englische Schaeferin
352
J.S. Bach, Chorale, ‘W¨ ar’ Gott Nicht Mit Uns
Diese Zeit’
102 Chapter IV. Other Diatonic Materials
353 , ,
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354

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Allegro
353
G.F. Handel, Angels Ever Bright and Fair
354
Beethoven, allegro from string quartet # 6
IV-6. Other Perfect Fourths and Fifths 103
IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale
355 ,
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356
anonymous, O Daniel (Florida)
357
J.S. Bach, Invention 2
358
W.A. Mozart, andante un poco allegretto from string
quartet # 5
104 Chapter IV. Other Diatonic Materials
359
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359
Abraham Goldfaden, Raisins with Almonds
IV-7. The Diminished Seventh Chord, and the Harmonic Minor Scale 105
106 Chapter IV. Other Diatonic Materials
Chapter V
Nondiatonic Materials
V-1 Secondary Dominants and Chromatic Passing Tones
360 ,
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360
Martin Luther, A Mighty Fortress Is Our God
361
anonymous, Kevin Barry (Ireland)
362
Who Got Dirt on the
Carpet Again?
363
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Allegro moderato
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363
Ithamar Conkey, God is Love, His Mercy Brightens
364
Shoals, Valedictory
365
anonymous, Autrefois le Rat de Ville
(France)
366
Samuel Webbe, Come, Ye Disconsolate
108 Chapter V. Nondiatonic Materials
,
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367
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368
J.A. Butterfield, When You and I Were Young
V-1. Secondary Dominants and Chromatic Passing Tones 109
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369
I.B. Woodbury, Speed Away! Speed Away!
370
W.A. Mozart, aria from the Magic Flute
371
anonymous, Let God’s
Saints Come In (Virginia)
110 Chapter V. Nondiatonic Materials
372
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372
anonymous, Vivo Penando (California)
373
anonymous, Allan Maclean (Scotland)
374
Alessandro Stradella, Ragion
Sempre Addita
375
anonymous, Dans le Port, Il Est Arriv´e (France)
V-1. Secondary Dominants and Chromatic Passing Tones 111
376
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376
George F. Root, Brother, Tell Me of the Battle
377
George Cooper, Beautiful Bells
378
J.H. McNaughton, The Faded
Coat of Blue
112 Chapter V. Nondiatonic Materials
379
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379
W.A. Mozart, menuet from string quartet # 1
380
Franz Joseph Haydn, adagio poco cantabile from string quartet,
Op. 73, #3 (‘Emperor’)
381
anonymous, Crep´ usculo (Mexico)
V-1. Secondary Dominants and Chromatic Passing Tones 113
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9
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382
anonymous, Media Noche (California)
383
Giovanni Battista Pergolesi, tune from Stabat Mater
114 Chapter V. Nondiatonic Materials
384 ,
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384
J.S. Bach, Bourr´ee II from orchestral suite #2
385
anonymous, The Cruel Mother (England)
386
Alice Hawthorne,
Out of Work
387
Scott Joplin, The Easy Winners
V-1. Secondary Dominants and Chromatic Passing Tones 115
/
12
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388
Gus Edwards, In My Merry Oldsmobile
389
anonymous, Erlaube Mir, Fein’s M¨ adchen
390
J.S. Bach, Menuet I from
orchestral suite #1
116 Chapter V. Nondiatonic Materials
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391
G.F. Handel, chorus from ‘Judas Maccabaeus’
392
Frances Shackleton, The Orange and the Black
V-1. Secondary Dominants and Chromatic Passing Tones 117
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393
anonymous, Adelphi School Song
394
H.R. Allen, Maid of Athens
118 Chapter V. Nondiatonic Materials
395
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Moderato

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In the following two melodies, the flattened third scale degree occurs in the vii
o
7 of V chord.
396
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32
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395
Joseph Ascher, Alice, Where Art Thou?
396
W.A. Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487
397
Franz
Schubert, Above the Mountains
V-1. Secondary Dominants and Chromatic Passing Tones 119
,
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5
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398
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398
W.A. Mozart, Duet from The Magic Flute
120 Chapter V. Nondiatonic Materials
V-2 Blue Notes
399
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400
anonymous, Roll, Jordan, Roll (United States)
401
anonymous,
Cyclone at Ryecove (Missouri)
402
James Reese Europe, Goodnight Angeline
V-2. Blue Notes 121
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anonymous, ’Tis Me, O Lord (Unites States)
122 Chapter V. Nondiatonic Materials
V-3 Relative Minor and Major
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405
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406
anonymous, Cradle Song (Sweden)
407
J.S. Bach,
Chorale, ‘Befiehl du deine Wege’
408
J.S. Bach, Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’
V-3. Relative Minor and Major 123
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409
anonymous, Feinsliebchen, Du Sollst
410
J.S. Bach, Chorale, ‘Gib Dich Zufrieden und Sei Stille’
411
F. Nicholls
Crouch, Kathleen Mavourneen
124 Chapter V. Nondiatonic Materials
,
25
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V-3. Relative Minor and Major 125
126 Chapter V. Nondiatonic Materials
Chapter VI
The C Clef
This chapter recapitulates some melodies from earlier chapters, using the C clef. The clef indicates
middle C. In modern music, the C clef is used almost exclusively for the viola, but it will also be
encountered in older scores, both vocal and instrumental, as an equally important companion to the
treble and bass clefs. The C clef is a movable clef, but the examples in this chapter are all given with
C placed at the middle line. Sight-singing from the C clef is not difficult, because one merely follows
the usual procedure of determining which line or space on the staff represents ‘do,’ and reading all
other notes relative to it. A trick for instrumentalists is to imagine that the middle line is really the
ledger line for middle C on the grand staff, while the top two lines belong to the treble clef, and the
bottom two to the bass clef. (The same trick can be handy for vocalists when using the key signature
to find the tonic on the staff.)
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415
Franz Joseph Haydn, menuet Oxford symphony
416
folk song
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418

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anonymous, Wach’ Auf, Mein Hort
418
anonymous, La Paloma Blanca (Arizona)
419
Gustav Holst, Venus theme
from The Planets
128 Chapter VI. The C Clef
420
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The following three examples are in the minor mode.
424
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folk song
421
Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater
422
W.A. Mozart, aria (Papageno)
from ‘The Magic Flute’
423
Franz Joseph Haydn, finale, London symphony
424
anonymous, Every Hour in the Day
(Georgia)
425
anonymous, lullabye (Russia)
129
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426
anonymous, Feinsliebchen, Du Sollst
427
F. Nicholls Crouch, Kathleen Mavourneen
130 Chapter VI. The C Clef
Thematic Index
ddddrdtd — p. 119, no. 397
ddddmdss — p. 93, no. 320
ddddmsff — p. 39, no. 117
ddddslsd — p. 30, no. 78
dddrrrmd — p. 45, no. 139
dddrrmmf — p. 19, no. 29; p. 127, no. 413
dddmdsmm — p. 59, no. 193; p. 129, no. 424
dddmmssm — p. 90, no. 310
dddmssll — p. 73, no. 245
dddsmmrd — p. 63, no. 213
dddsllls — p. 71, no. 237
dddsltdt — p. 107, no. 360
ddrdmfss — p. 33, no. 86
ddrrmmrd — p. 31, no. 79
ddrmrdrr — p. 29, no. 71
ddrmrrmr — p. 100, no. 344
ddrmrmfm — p. 51, no. 165
ddrmmrdf — p. 75, no. 254
ddrmmmfs — p. 26, no. 57
ddrmmfsl — p. 91, no. 312
ddrmfsss — p. 40, no. 121
ddrmfssl — p. 73, no. 249
ddmrdrrm — p. 29, no. 74
ddmmrmdd — p. 27, no. 64
ddmmmdts — p. 41, no. 125
ddmssfmr — p. 37, no. 106
ddmsslls — p. 78, no. 268
ddmsltdt — p. 59, no. 191
ddsdrmfs — p. 88, no. 304
ddssddll — p. 75, no. 256
ddtdrdrm — p. 25, no. 55
ddtlsdrm — p. 40, no. 120; p. 73, no. 243
ddtltddt — p. 23, no. 49
ddtltdrm — p. 102, no. 352
ddtltlls — p. 25, no. 52
drddtdrm — p. 20, no. 36
drdrdrmr — p. 55, no. 170
drdrmfss — p. 33, no. 88
drdtdsdr — p. 97, no. 334
drdtlsls — p. 19, no. 32
drmdddrm — p. 47, no. 150
drmdrmrm — p. 58, no. 187
drmrdtdr — p. 55, no. 175
drmrmfmf — p. 19, no. 28; p. 127, no. 412
drmrmfsf — p. 19, no. 31
drmrfmrt — p. 113, no. 380
131
drmrsdrs — p. 62, no. 205
drmmmrfm — p. 94, no. 322
drmmmmsm — p. 30, no. 76
drmmmsrr — p. 48, no. 152
drmmfmfs — p. 21, no. 45
drmmfsds — p. 60, no. 197
drmmflss — p. 73, no. 244
drmfrmdm — p. 63, no. 215
drmfmrmf — p. 20, no. 37
drmfmmrr — p. 22, no. 46
drmfmfsl — p. 21, no. 44
drmfsmfs — p. 50, no. 162
drmfsfmr — p. 56, no. 180
drmfsfsl — p. 104, no. 355
drmfssfm — p. 41, no. 129
drmfsssf — p. 20, no. 33
drmfssls — p. 22, no. 47
drmfslsf — p. 55, no. 171
drmfslss — p. 62, no. 209
drmfslsl — p. 56, no. 177; p. 56, no. 179
drmfsltd — p. 19, no. 27
drssmddf — p. 82, no. 282
dmddmssl — p. 59, no. 188
dmdmsffm — p. 28, no. 70
dmdmssmm — p. 27, no. 60
dmdsdmsd — p. 27, no. 59
dmdslfmf — p. 116, no. 390
dmdtdrmm — p. 60, no. 195
dmrdmfst — p. 65, no. 223
dmrdssms — p. 35, no. 95
dmrsdmrs — p. 62, no. 206; p. 129, no. 425
dmrtdmrt — p. 84, no. 286
dmmmrfff — p. 69, no. 230
dmmflssm — p. 79, no. 270
dmfssrss — p. 49, no. 160
dmsdmssm — p. 34, no. 92
dmsdlsdd — p. 72, no. 241
dmsdtdrm — p. 61, no. 198
dmsrdrmm — p. 50, no. 161
dmsmrflf — p. 104, no. 358
dmsmmddt — p. 64, no. 218
dmsmfrfr — p. 99, no. 340
dmsmslsf — p. 58, no. 185
dmsfslsf — p. 107, no. 362
dmssdtrr — p. 72, no. 242
dmssdtls — p. 28, no. 68
dmsssmfs — p. 32, no. 82
dmssssfm — p. 105, no. 359
132 Chapter VI. The C Clef
dmssslss — p. 34, no. 90
dmsslfsd — p. 71, no. 239
dmssltds — p. 98, no. 337
dmslsddr — p. 38, no. 109
dmslsmss — p. 39, no. 114
dsdrmfsf — p. 59, no. 189
dsdsdsdm — p. 37, no. 102
dsdtdsmr — p. 62, no. 204
dsmdrmrt — p. 121, no. 402
dsmdslsm — p. 58, no. 183
dsmdslst — p. 86, no. 295
dsmrdrmd — p. 59, no. 190
dsmrdrmf — p. 28, no. 65; p. 129, no. 421
dsmrdlsf — p. 86, no. 294
dsmrmfmr — p. 108, no. 365
dsmsmdrm — p. 42, no. 134
dsfmddsf — p. 61, no. 203
dsfmsmrd — p. 27, no. 62
dssdddfl — p. 123, no. 406
dssdlllt — p. 80, no. 273
dssmdsms — p. 32, no. 80
dssfrdtl — p. 89, no. 305; p. 93, no. 319
dssfsfmr — p. 81, no. 278
dsssslls — p. 51, no. 168
dsslsmrd — p. 61, no. 199
dsslsfmd — p. 37, no. 104
dssltddm — p. 40, no. 122
dslsfmrd — p. 85, no. 291
dsltdrms — p. 111, no. 374
dsltdmfs — p. 36, no. 101
dtddddrm — p. 58, no. 182
dtdrdtdt — p. 23, no. 50
dtdrrdrm — p. 20, no. 34; p. 45, no. 141
dtdrmrdt — p. 24, no. 51
dtdrmfsl — p. 55, no. 173
dtdrmsfm — p. 115, no. 384
dtdrmslt — p. 104, no. 357
dtdtdrmr — p. 34, no. 91
dtfmdsls — p. 87, no. 299
dtlsfmrd — p. 56, no. 176
dtlsfmms — p. 73, no. 246
dtlslsfm — p. 74, no. 253; p. 98, no. 339
rddrmrdr — p. 55, no. 172
rmfsdmrd — p. 48, no. 153
rsdsdddd — p. 77, no. 262
mdrmfsfm — p. 50, no. 164
mdrmfsss — p. 100, no. 345
mdmrdtrs — p. 65, no. 222
133
mdmrsmrd — p. 61, no. 200
mdmfmrdl — p. 86, no. 293
mrdddttl — p. 29, no. 72
mrddrdrm — p. 96, no. 331
mrddrdtd — p. 39, no. 113; p. 129, no. 422
mrddmmsr — p. 63, no. 212
mrdrddms — p. 78, no. 269
mrdrmrdm — p. 96, no. 330
mrdrsmdr — p. 41, no. 127
mrdmrddl — p. 71, no. 240
mrdmssms — p. 35, no. 99
mrdsdrmm — p. 82, no. 284
mrdsfmdt — p. 124, no. 411; p. 130, no. 427
mrdsfmfm — p. 32, no. 81
mrdslsfm — p. 59, no. 194
mrdslslf — p. 97, no. 336
mrdslstr — p. 49, no. 158; p. 128, no. 418
mrdtdrmr — p. 21, no. 43
mrrdsmmr — p. 91, no. 313
mrmdmfss — p. 34, no. 94
mrmfmrds — p. 62, no. 208
mrmfmrsf — p. 46, no. 146
mrmfssmr — p. 28, no. 66
mrmsdrrl — p. 112, no. 377
mrfmlsmr — p. 95, no. 326
mmdrsmdm — p. 45, no. 144
mmrddrrm — p. 32, no. 83
mmrdtdrd — p. 40, no. 123
mmrmstls — p. 123, no. 408
mmmrdddd — p. 122, no. 403
mmmrdrmr — p. 97, no. 332
mmmfmmrr — p. 45, no. 140
mmfssfmr — p. 19, no. 30
mmslslsl — p. 115, no. 387
mfrdrmfs — p. 78, no. 267
mfrmdlsf — p. 87, no. 300
mfmrdmfs — p. 25, no. 54
mfmmrdtd — p. 55, no. 174
mfsmdttd — p. 69, no. 232
mfsmrtds — p. 41, no. 128; p. 127, no. 415
mfsmmrdl — p. 99, no. 342
mfsmfsmr — p. 76, no. 259
mfssfmrr — p. 25, no. 56
mfssfsls — p. 107, no. 361
mfsssfsl — p. 111, no. 373
mfsssssm — p. 41, no. 126
mfsssssl — p. 51, no. 166
mfssltdt — p. 114, no. 382
134 Chapter VI. The C Clef
mfslsmrd — p. 97, no. 333
mfslsffs — p. 80, no. 275
msrsmdtd — p. 84, no. 288
msmdrmsm — p. 30, no. 75
msmrdsfm — p. 92, no. 315
msmfmrdm — p. 121, no. 399
msmffflf — p. 79, no. 271
msmsslfl — p. 71, no. 236
msmlmsml — p. 95, no. 327
msfmslsm — p. 74, no. 252
msssffmm — p. 40, no. 124
mtrddrmr — p. 70, no. 234
ffdddtdr — p. 123, no. 405
fslsfmfs — p. 81, no. 281
sdddddrr — p. 50, no. 163; p. 127, no. 416
sddddrrr — p. 48, no. 154
sddddmrd — p. 121, no. 400
sddddtdr — p. 87, no. 302
sddddtss — p. 104, no. 356
sdddmddm — p. 33, no. 84
sdddslss — p. 44, no. 136
sdddlssd — p. 74, no. 251
sdddtdrs — p. 26, no. 58
sddrmfsl — p. 102, no. 351
sddrtddm — p. 94, no. 323
sddmdtls — p. 92, no. 314
sddmrdls — p. 101, no. 347
sddmmssm — p. 46, no. 145; p. 129, no. 420
sddtlslr — p. 103, no. 353
sddtlslf — p. 86, no. 296
sdrdsdrm — p. 61, no. 201
sdrmdmmr — p. 39, no. 115
sdrmdsrd — p. 71, no. 238
sdrmrdrm — p. 28, no. 67
sdrmmfmd — p. 28, no. 69; p. 90, no. 308
sdrmmffs — p. 63, no. 216
sdrmfrdt — p. 65, no. 225
sdrmfmfs — p. 51, no. 167
sdrmfsdr — p. 84, no. 287
sdrmsssl — p. 109, no. 367
sdrsdrmr — p. 69, no. 233
sdmdmdmr — p. 101, no. 349
sdmdtlsd — p. 108, no. 363
sdmrdrms — p. 37, no. 105
sdmrmrdm — p. 27, no. 61
sdmrfmrd — p. 101, no. 348
sdmmmmrm — p. 78, no. 265
sdmmfmrr — p. 116, no. 389
135
sdmsdmsd — p. 123, no. 404
sdmsrmld — p. 97, no. 335
sdmsfmdd — p. 73, no. 247; p. 127, no. 414
sdmssdms — p. 47, no. 148; p. 128, no. 417
sdsdrmrr — p. 45, no. 143
sdtdrmfs — p. 69, no. 231
sdtdrlrd — p. 95, no. 325
sdtdlsdr — p. 80, no. 276; p. 100, no. 346
sdtlsfsr — p. 65, no. 224; p. 123, no. 407
sdtlssls — p. 44, no. 137
sdtlslsf — p. 114, no. 383
sdtltdtl — p. 96, no. 329
srmtdrrs — p. 70, no. 235
smdrssdd — p. 77, no. 264
smdsslsd — p. 42, no. 133
smdlssfs — p. 108, no. 366
smrdrmfr — p. 76, no. 258
smrdsmrd — p. 36, no. 100
smrdslff — p. 77, no. 263
smrdtlds — p. 35, no. 98; p. 93, no. 321
smrdttdl — p. 91, no. 311
smrrdmrs — p. 42, no. 131; p. 128, no. 419
smrmdsss — p. 84, no. 289
smrmrtdd — p. 64, no. 221
smrmfmrl — p. 108, no. 364
smmddtrm — p. 73, no. 248
smmrrddt — p. 102, no. 350
smmrrmmd — p. 67, no. 229
smmrsdtd — p. 118, no. 393
smmmrddd — p. 27, no. 63
smmmmrrr — p. 89, no. 307
smmmmfmr — p. 112, no. 378
smmfrrdr — p. 38, no. 111
smfrrrmf — p. 37, no. 103
smfsddtt — p. 29, no. 73
smfsdrmf — p. 117, no. 391
smfslsmd — p. 58, no. 186
smfslsfm — p. 124, no. 410
smsmrdmr — p. 35, no. 96; p. 35, no. 97
smsfmrsf — p. 66, no. 227
smslssmd — p. 34, no. 93; p. 46, no. 147
sfrfmdss — p. 47, no. 151; p. 129, no. 423
sfmdrldl — p. 98, no. 338
sfmrrdtl — p. 21, no. 39
sfmmrdrd — p. 103, no. 354
sfmmrrmf — p. 99, no. 341
sfmmmmfm — p. 76, no. 257
sfmmsdsm — p. 49, no. 157
136 Chapter VI. The C Clef
sfmfmmfs — p. 21, no. 41
sfmfsdrd — p. 25, no. 53
sfmfsldt — p. 81, no. 279
sfmfsltd — p. 80, no. 274
sfmsmrrd — p. 117, no. 392
sfmsmsmf — p. 116, no. 388
sfmsfmrd — p. 33, no. 85; p. 90, no. 309; p. 113, no. 379
sfslsfss — p. 63, no. 211
sflsrmrm — p. 118, no. 394
sflsftrd — p. 112, no. 376
ssdddtdr — p. 62, no. 210; p. 85, no. 290
ssdddttd — p. 79, no. 272
ssddrmrd — p. 47, no. 149
ssddmrtd — p. 74, no. 250
ssddssmm — p. 111, no. 375
ssddsldr — p. 81, no. 280
ssddtddr — p. 124, no. 409; p. 130, no. 426
ssdrdtdr — p. 40, no. 119
ssdrdtlt — p. 119, no. 395
ssdrmmmm — p. 113, no. 381
ssdmrdrm — p. 87, no. 301
ssdmrdtl — p. 85, no. 292
ssdmmfsm — p. 83, no. 285
ssdmsfmf — p. 38, no. 108
ssdsmmsm — p. 38, no. 112
ssdssmmr — p. 49, no. 156
ssdtdrdt — p. 115, no. 386
ssdtrddt — p. 92, no. 317
ssdtfmsm — p. 49, no. 159
ssmdddrm — p. 64, no. 219
ssmddtll — p. 41, no. 130
ssmdsfrm — p. 61, no. 202
ssmrddtd — p. 89, no. 306
ssmrdrdd — p. 109, no. 368
ssmrdssf — p. 77, no. 261
ssmrdtdr — p. 64, no. 220
ssmmmddd — p. 44, no. 138
ssmmmddt — p. 110, no. 370; p. 120, no. 398
ssmmssdd — p. 34, no. 89
ssmmssrr — p. 44, no. 135
ssfmmrdr — p. 76, no. 260
sssddmms — p. 92, no. 318
sssdmsss — p. 62, no. 207
sssmrmdr — p. 45, no. 142
sssmfsls — p. 80, no. 277
sssffmmm — p. 39, no. 116
ssssdsss — p. 39, no. 118; p. 42, no. 132; p. 86, no. 297
ssssssms — p. 75, no. 255
137
ssssssss — p. 30, no. 77; p. 110, no. 369
sssslsmm — p. 121, no. 401
sssslssd — p. 63, no. 214
ssslsssf — p. 56, no. 178
sslddsfm — p. 78, no. 266
sslsmsss — p. 110, no. 371
sslsfmrd — p. 58, no. 184
sslsfmrl — p. 100, no. 343
sslsfmmf — p. 65, no. 226
sslsffmm — p. 64, no. 217
ssltddtl — p. 20, no. 38
ssltdtdr — p. 33, no. 87
ssltdtdt — p. 20, no. 35
ssltdttt — p. 59, no. 192
sstrddrd — p. 48, no. 155
slsmdsls — p. 38, no. 110
slsmrddt — p. 87, no. 298
slsffmmr — p. 21, no. 42
slssddrm — p. 37, no. 107
slslsdtd — p. 66, no. 228
slslsssd — p. 92, no. 316
sltdrmrm — p. 21, no. 40
sltdrmfs — p. 56, no. 181
sltdmmrd — p. 111, no. 372
sltdtddd — p. 23, no. 48
strsfmfs — p. 88, no. 303
stlsmfsd — p. 115, no. 385
lmsltddt — p. 96, no. 328
lsslssls — p. 60, no. 196
tdmddrfr — p. 52, no. 169
138 Chapter VI. The C Clef
Index
’Tis Me, O Lord, 122
¨
Annchen von Tharau, 37
Above the Mountains, Franz Schubert, 119
Absent Davie, 35
Abt, Franz
Kathleen Aroon, 97
Ach, Englische Schaeferin, 102
adagio poco cantabile from string quartet, Op.
73, #3, Franz Joseph Haydn, 113
Adelphi School Song, 118
Adieu, Bonne Hˆ otesse, 84
After the Ball, Charles K. Harris, 95
Ah Mon Beau Chˆ ateau, 38
Ah, Suzette, Ch`ere, 49
Ainsi Font, Font, Font, 38
Alice, Where Art Thou?, Joseph Ascher, 119
Allan Maclean, 111
allegro from Eine kleine Nachtmusik, W.A. Mozart,
37
Allen, H.R.
Maid of Athens, 118
Alouette (rhythm only), , 15
Am Feierabend, Franz Schubert, 64
Amarilli, Mia Bella, Giulio Carcini, 70
America the Beautiful, Katharine Lee Bates, 44
andante un poco allegretto from string quartet
# 5, W.A. Mozart, 104
Angel de Mis Amores, 64
Angel of Peace, M. Keller, 109
Angels Ever Bright and Fair, G.F. Handel, 103
Annie Laurie, 29
Arlequin Marie Sa Fille, 71
Arlequin Tient Sa Boutique, 45
As-Tu Vu la Casquette?, 34
Ascher, Joseph
Alice, Where Art Thou?, 119
Ash Grove, The, 73, 127
Au Jardin de Mon P`ere, 73
Aura Lee, George Poulton, 95
Autrefois le Rat de Ville, 108
Aux Marches du Palais, 45
Avril, 81
Away in a Manger (rhythm only), , 15
Bach, J.S.
Bourr´ee II from orchestral suite #2, 115
Chorale, ‘Befiehl du deine Wege’, 123
Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’,
123
Chorale, ‘Es ist gewisslich an der Zeit’, 29
Chorale, ‘Es spricht der Unweisen Mund
wohl’, 40
Chorale, ‘Es steh’n vor Gottes Throne’, 60
Chorale, ‘Gib Dich Zufrieden und Sei Stille’,
124
Chorale, ‘Herr, nun lass in Friede’, 59
Chorale, ‘Herr, wie du willst, so schick’s mit
mir’, 20, 45
Chorale, ‘Jesu, meiner Seelen Wonne’, 25
Chorale, ‘Liebster Jesu, wir sind hier’, 41
Chorale, ‘Mach’s mit mir, Gott, nach deiner
Gut’, 41
Chorale, ‘Nun ruhen alle Walder’, 50
Chorale, ‘Nun sich der Tag geendet hat’, 63
Chorale, ‘O Haupt voll Blut und Wunden,’
from St. Matthew’s Passion, 65
Chorale, ‘O Traurigkeit, o Herzeleid’, 64
Chorale, ‘Seelenbr¨ autigam, Jesu, Gottes Lamm’,
25
Chorale, ‘Valet will ich dir geben’, 40
Chorale, ‘Von Gott will ich nicht lassen’, 65
Chorale, ‘W¨ ar’ Gott Nicht Mit Uns Diese
Zeit’, 102
Chorale, ‘Wenn wir in h¨ ochsten N¨ oten sein’,
51
Chorale, ‘Wie bist du Seele in mir so gar
betr¨ ubt’, 40
Gavotte II from cello suite # 5, 63
gavotte in G minor, 56
Invention 2, 104
melody from the notebook for Anna Mag-
dalena, 62
Menuet I from orchestral suite #1, 116
menuet II from cello suite # 2, 100
minuet, 45
trio from Brandenburg concerto # 1, 87
Ballade de Roland, 45
Barbara Allan, 47
Bates, Katharine Lee
America the Beautiful, 44
Bayly, T.H.
Long, Long Ago, 91
Beautiful Angel, The, Pierre Latour, 20
Beautiful Bells, George Cooper, 112
Beautiful Isle of Somewhere, J.S. Fearis, 77
Beckoning the Chickens, Froebel, 34
Beckoning the Pigeons, Froebel, 33
Beethoven
Ode to Joy, 19
opening movement from string quartet #
1, 97
opening theme of Symphony #3, 27
string quartet # 6, allegro, 103
Beggar Girl, The, 33
Beuttner, Nikolaus
Es kam ein treuer Bote, 40
Bingo (rhythm only), , 13
Blue Juniata, The, M.D. Sullivan, 77
Bonnie Wee Window, 77
Bonniest Lass in a’ The Land, The, 72
Bourr´ee II from orchestral suite #2, J.S. Bach,
115
Bradbury, W.B.
He Leadeth Me, 77
Braes O Yarrow, The, 79
Brahms, Johannes
introduction, 1st symphony, 80, 100
Nachtwache 1, 65
Broadway Sights, W.H. Latham, 27
Brother, Guide Me Home, 39
Brother, Tell Me of the Battle, George F. Root,
112
Butterfield, J.A.
When You and I Were Young, 109
Calinda, 79
Cangia, Cangia Tue Voglie, G.B. Fasolo, 73
Carcini, Giulio
Amarilli, Mia Bella, 70
Carmela, 28, 90
Caro Mio Ben, Attributed to Guiseppe Gior-
diano,, 98
carol, 20
Caroline, 80
Chant de Sion, Darius Milhaud, 101
Chill Ether, 50
chorus from Judas Maccabaeus, G.F. Handel,
117
Come, Ye Disconsolate, Samuel Webbe, 108
Conkey, Ithamar
God is Love, His Mercy Brightens, 108
Cooper, George
Beautiful Bells, 112
Cowboy’s Home Sweet Home, 79
Cradle Song, 91, 123
Crep´ usculo, 113
Crouch, F. Nicholls
Kathleen Mavourneen, 124, 130
Crowell, B.
a, 3/4, 55
A, 4/4, 36
a, 4/4, 55, 104
a, 6/8, 55
A, 4/4, 21
B, 3/4, 1, 36
B, 4/4, 20
B, 4/4, 1, 52
C, 3/4, 19, 22, 49, 127
c, 3/4, 58
C, 4/4, 19, 25, 127
c, 4/4, 58
C, 4/4, 1, 21
D, 4/4, 21
E, 3/4, 21
F, 2/4, 33
F, 3/4, 25
f, 4/4, 59
G, 3/4, 19, 25, 32, 42
G, 4/4, 22, 26, 27, 32, 34, 48
g, 4/4, 86
G, 6/8, 21, 27
G, 9/8, 34
g, 9/8, 61
G, 4/4, 21
Who Got Dirt on the Carpet Again?, 58,
107
Cruel Mother, The, 115
Cutler, H.S.
Son of God Goes Forth to War, The, 29
Cyclone at Ryecove, 121
Da Unten Im Tale, 73
Danksagung an den Bach, Franz Schubert, 69
Dans la Forˆet Lointaine, 33
140 Index
Dans le Port, Il Est Arriv´e, 111
Dans Notre Jardin, 48
Das Wandern, Franz Schubert, 49
Dearest Spot on Earth, The, W.T. Wrighton,
35
Derri`ere Chez Moi, 85
Devotion, Richard Strauss, 74
Diadem, J. Ellor, 84
Die Sonne Scheint Nicht Mehr, 82
Down in the Valley, 39
Duet from The Magic Flute, W.A. Mozart, 120
Duet No. 2, Menuet, from 12 Duets, K.V. 487,
W.A. Mozart, 37, 119
Duke of Argyle’s Courtship, The, 51
Easy Winners, The, Scott Joplin, 115
Edwards, Gus
In My Merry Oldsmobile, 116
Eli Yale, 44
Ellor, J.
Diadem, 84
Emerson, L.O.
Whither Through the Meadow?, 21
En Avant, Gr´enadiers, 64
En Revenant d’Auvergne, 30
Entendez-Vous Sur l’Ormeau, 31
Entre Vous Tous Gens de la Ville, 88
Erlaube Mir, Fein’s M¨ adchen, 116
Es kam ein treuer Bote, Nikolaus Beuttner, 40
Es Ritt ein Ritter, 123
Etude, Op. 45, #1, Franz Wohlfahrt, 34
Europe, James Reese
Goodnight Angeline, 121
Evening Bells, Thomas Moore, 75
Every Hour in the Day, 59, 129
Faded Coat of Blue, The, J.H. McNaughton,
112
Fairy Boat, The, Harold Samuel, 51
Fasolo, G.B.
Cangia, Cangia Tue Voglie, 73
Fearis, J.S.
Beautiful Isle of Somewhere, 77
Feinsliebchen, Du Sollst, 124, 130
finale, London symphony, Franz Joseph Haydn,
47, 129
Forget na’, dear Lassie, 59
Foster, S.C.
Gentle Annie, 96
Foster, Stephen
Hard Times Come Again No More, 30
Old Folks at Home, 71
Slumber My Darling, 96
Song of All Songs, The, 85
Froebel
Beckoning the Chickens, 34
Beckoning the Pigeons, 33
Pat-a-Cake, 28
Wolf, The, 62
Gar Lieblich Hat Sich Gesellet, 51
Gardez Piti Milatte-l` a, 40
Gaudeamus Igitur, 80
Gavotte II from cello suite # 5, J.S. Bach, 63
gavotte in G minor, J.S. Bach, 56
Gentle Annie, S.C. Foster, 96
Gi` a il Sole dal Gange, Alessandro Scarlatti, 69
Giordiano,, Attributed to Guiseppe
Caro Mio Ben, 98
Gladden, S.W.
Mountains, The, 85
Go ’Way, Old Man, 44
Go Down, Moses, 67
God is Love, His Mercy Brightens, Ithamar Con-
key, 108
God Speed the Right, 38
Gold Band, The, 76
Goldfaden, Abraham
Raisins with Almonds, 105
Goodnight Angeline, James Reese Europe, 121
Graveyard, The, 121
Grieg
e, 4/4, 69
Gunhilde, 102
Guten Abend, 62
Gwine Follow, 90
Gypsy Warning, The, 48
Hallowed Spot, The, 81
Halt, Franz Schubert, 41
Handel, G.F.
Angels Ever Bright and Fair, 103
chorus from Judas Maccabaeus, 117
Hush ye pretty warbling quire from Acis
and Galatea, 74
O Jordan, Sacred Tide from Esther, 66
Hanukah O Hanukah, 86
Index 141
Hard Times Come Again No More, Stephen
Foster, 30
Harris, Charles K.
After the Ball, 95
Hawthorne, Alice
Home, By and By, 33
Out of Work, 115
Haydn, Franz Joseph
adagio poco cantabile from string quartet,
Op. 73, #3, 113
finale, London symphony, 47, 129
introduction, London symphony, 78
menuet Oxford symphony, 41, 127
He Leadeth Me, W.B. Bradbury, 77
Here We Go Round the Mulberry Bush (rhythm
only), , 15
Hess, C.
Little Charley Went a Fishing, 89
Holst, Gustav
Venus theme from The Planets, 42, 128
Home On the Range (rhythm only), , 15
Home, By and By, Alice Hawthorne, 33
Huntsman, The, 75
Husband, John
Revive Us Again, 38
Hush Little Baby (rhythm only), , 14
Hush ye pretty warbling quire from Acis and
Galatea, G.F. Handel, 74
Hush, My Babe, J.J. Rousseau, 32
I Ride an Old Paint, 74
I Want To Be Ready, 73
I’m a Pilgrim, 47
I’m In Trouble, 78
I’ve Been Working on the Railroad (rhythm
only), , 15
If with all your hearts ye truly seek me from
Elijah, Felix Mendelssohn, 91
If Ye Love Me, Thomas Tallis, 75
If Your Foot Is Pretty, Show It, 42
In My Merry Oldsmobile, Gus Edwards, 116
introduction, 1st symphony, Johannes Brahms,
80, 100
introduction, London symphony, Franz Joseph
Haydn, 78
Invention 2, J.S. Bach, 104
Jehovah, Hallelujah, 71
Jenny Lind Mania, The, W.H.C. West, 73
Jimmy Crack Corn (rhythm only), , 14
Jingle Bells (rhythm only), , 14
Joplin, Scott
Easy Winners, The, 115
The Entertainer (rhythm only), 16
Juanita, 99
Jungfr¨ aulein, Soll Ich Mit Euch Gehn, 48
Kathleen Aroon, Franz Abt, 97
Kathleen Mavourneen, F. Nicholls Crouch, 124,
130
Keller, M.
Angel of Peace, 109
Kevin Barry, 107
Krambambuli, 44
la Claire Fontaine, A, 27
Lang Johnny More, 72
Latham, W.H.
Broadway Sights, 27
Latour, Pierre
Beautiful Angel, The, 20
Lawlan’ Jenny, 30
Let God’s Saints Come In, 110
Lewis, L.R.
a, 3/4, 55
a, 4/4, 56
B, 3/4, 20
B, 4/4, 20, 24
C, 4/4, 23
C, 6/8, 23
d, 3/2, 56
d, 3/4, 56
d, 4/4, 56
Lightly Row, 38
Lilly Dale, H.S. Thompson, 99
Little Brown Jug (rhythm only), , 13
Little Charley Went a Fishing, C. Hess, 89
Lolotte, 63
Long, Long Ago, T.H. Bayly, 91
Love’s Young Dream, Thomas Moore, 98
lullabye, 62, 129
Luther, Martin
Mighty Fortress Is Our God, A, 107
We Come Unto Our Father’s God, 29
M’ha Preso Alla Sua Ragna, Pier Domenico
Paradies, 82
Maid of Athens, H.R. Allen, 118
142 Index
march from The Nutcracker (rhythm only), P.I.
Tchaikovsky, 16
McNaughton, J.H.
Faded Coat of Blue, The, 112
Media Noche, 114
melody from the notebook for Anna Magdalena,
J.S. Bach, 62
Mendelssohn, Felix
If with all your hearts ye truly seek me from
Elijah, 91
Menuet I from orchestral suite #1, J.S. Bach,
116
menuet II from cello suite # 2, J.S. Bach, 100
menuet Oxford symphony, Franz Joseph Haydn,
41, 127
Mi Sue˜ no, 65
Mighty Fortress Is Our God, A, Martin Luther,
107
Milhaud, Darius
Chant de Sion, 101
minuet, J.S. Bach, 45
Moore, Thomas
Evening Bells, 75
Love’s Young Dream, 98
Mountains, The, S.W. Gladden, 85
Mozart, W.A.
allegro from Eine kleine Nachtmusik, 37
andante un poco allegretto from string quar-
tet # 5, 104
aria (Papageno) from ‘The Magic Flute’,
39, 129
aria from the Magic Flute, 110
Duet from The Magic Flute, 120
Duet No. 2, Menuet, from 12 Duets, K.V.
487, 37, 119
opening from clarinet quintet, 76
Osanna (bass solo, allegro) from Sanctus,
Requiem, 87
string quartet # 1, adagio, 40
string quartet # 1, menuet, 90, 113
string quartet # 1, trio, 97
string quartet # 10, menuet, 81
string quartet # 15, menuet, 63
string quartet # 2, andante, 80
string quartet # 4, opening, 94
string quartet # 4, presto, 84
string quartet # 6, rondo, 84
string quartet # 7, presto, 93
string quartet # 8, menuet, 89, 93
theme from symphony in G minor, 60
Musieu Bainjo, 39
My Father, How Long?, 28
My Field, 61
My Lodging Is On the Cold Ground, 78
Nachtwache 1, Johannes Brahms, 65
Not Yet, Richard Strauss, 49
O Come, All Ye Faithful (rhythm only), , 13
O Daniel, 104
O Jordan, Sacred Tide from Esther, G.F. Han-
del, 66
O Little Town of Bethlehem (rhythm only), ,
14
Ode to Joy, Beethoven, 19
Ojos Mexicanos, Los, 63
Old Folks at Home, Stephen Foster, 71
Old Hundred, 73
opening from clarinet quintet, W.A. Mozart, 76
opening movement from string quartet # 1, Beethoven,
97
opening theme of Symphony #3, Beethoven, 27
Ophelia’s Song, Maude Valerie White, 63
Orange and the Black, The, Frances Shackle-
ton, 117
Osanna (bass solo, allegro) from Sanctus, Re-
quiem, W.A. Mozart, 87
Our Baby, 45
Out of Work, Alice Hawthorne, 115
Paloma Blanca, La, 49, 128
Paradies, Pier Domenico
M’ha Preso Alla Sua Ragna, 82
Parry, John
Villikins and His Dinah, 37
Pat-a-Cake, Froebel, 28
Pergolesi, Giovanni Battista
aria from Stabat Mater, 100
Sancta Mater from Stabat Mater, 28, 129
tune from Stabat Mater, 76, 114
Poor Rosy, 35
Pop Goes the Weasel (rhythm only), , 16
Poulton, George
Aura Lee, 95
Praise, Member, 34, 46
processional march song, 101
Index 143
Que No Te Amo, 87
Quinze Ans, A, 92
R´emon, 99
Ragion Sempre Addita, Alessandro Stradella,
111
Rain, Rain, Go Away (rhythm only), , 13
Raisins with Almonds, Abraham Goldfaden, 105
Rana, La, 94
Recouvrance, A, 28
Red River Valley, 78
Reir Es Necesario, 64, 92
Revive Us Again, John Husband, 38
Rimsky-Korsakov, Nikolai
Scheherezade, 97
Rockabye Baby (rhythm only), , 15
Roll, Jordan, Roll, 121
Root, George F.
Brother, Tell Me of the Battle, 112
Rosa Lee, 78
Rousseau, J.J.
Hush, My Babe, 32
Row, Burnie, Row, H. Burgess Weston, 30
Row, Row, Row Your Boat (rhythm only), , 16
Sagt Mir, O Sch¨ onste Sch¨ af’rin Mein, 101
Samuel, Harold
Fairy Boat, The, 51
Sancta Mater from Stabat Mater, Giovanni Bat-
tista Pergolesi, 28, 129
Scarlatti, Alessandro
Gi` a il Sole dal Gange, 69
Su, Venite a Consiglio, 32
Sch¨ onster Schatz, Mein Engel, 39
Scheherezade, Nikolai Rimsky-Korsakov, 97
Schubert, Franz
Above the Mountains, 119
Am Feierabend, 64
Danksagung an den Bach, 69
Das Wandern, 49
Halt, 41
Wohin?, 41
Schwesterlein, 123
Serenata, 39, 42
Shackleton, Frances
Orange and the Black, The, 117
Ship That Never Returned, The, 82
Shoals
Valedictory, 108
Shout On, Children, 41
Sing Hey to You, Good-Day to You, A.S. Sulli-
van, 96
Sinner Won’t Die No More, 76
Slumber My Darling, Stephen Foster, 96
Softly Now the Light of Day, C.M. von Weber,
95
Son of God Goes Forth to War, The, H.S. Cut-
ler, 29
Song of All Songs, The, Stephen Foster, 85
Song of the Free, J.G. Whittier, 74
Speed Away Speed Away, I.B. Woodbury, 110
Stradella, Alessandro
Ragion Sempre Addita, 111
Strauss, Richard
Devotion, 74
Not Yet, 49
string quartet # 1, adagio, W.A. Mozart, 40
string quartet # 1, menuet, W.A. Mozart, 90,
113
string quartet # 1, trio, W.A. Mozart, 97
string quartet # 10, menuet, W.A. Mozart, 81
string quartet # 15, menuet, W.A. Mozart, 63
string quartet # 2, andante, W.A. Mozart, 80
string quartet # 4, opening, W.A. Mozart, 94
string quartet # 4, presto, W.A. Mozart, 84
string quartet # 6, allegro, Beethoven, 103
string quartet # 6, rondo, W.A. Mozart, 84
string quartet # 7, presto, W.A. Mozart, 93
string quartet # 8, menuet, W.A. Mozart, 89,
93
Su, Venite a Consiglio, Alessandro Scarlatti, 32
Sullivan, A.S.
E, 6/8, 28
Sing Hey to You, Good-Day to You, 96
Take a Pair of Sparkling Eyes, 96
Sullivan, M.D.
Blue Juniata, The, 77
Take a Pair of Sparkling Eyes, A.S. Sullivan, 96
Take Me Out to the Ball Game (rhythm only),
, 14
Tallis, Thomas
If Ye Love Me, 75
Tchaikovsky, P.I.
march from The Nutcracker (rhythm only),
16
144 Index
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,
60
This Old Man (rhythm only), , 14
Thompson, H.S.
Lilly Dale, 99
Thou Poor Bird, 60
trepak from The Nutcracker (rhythm only), P.I.
Tchaikovsky, 15
trio from Brandenburg concerto # 1, J.S. Bach,
87
Tristes Horas, Las, 62
Tu Eres Mas Bella, 46
Twinkle Twinkle, Little Star (rhythm only), ,
13
Ubi Bene, Ibi Patria, 83
Upidee, 93
Valedictory, Shoals, 108
Venus theme from The Planets, Gustav Holst,
42, 128
Villikins and His Dinah, John Parry, 37
Vivo Llorando la Suerte, 87
Vivo Penando, 111
Wach’ Auf, Mein Hort, 47, 128
Walk, Shepherdess, Walk, 92
waltz of the flowers from The Nutcracker (rhythm
only), P.I. Tchaikovsky, 15
We Come Unto Our Father’s God, Martin Luther,
29
We Three Kings (rhythm only), , 14
We Wish You a Merry Christmas (rhythm only),
, 14
Webbe, Samuel
Come, Ye Disconsolate, 108
Weber, C.M. von
Softly Now the Light of Day, 95
Wedge, G.A.
c, 2/4, 86
c, 3/4, 58, 62
f, 2/4, 59, 86
f, 3/4, 86
g, 2/4, 61
g, 3/4, 61, 62, 66
g, 4/8, 65
Were You Ever in Rio Grand, 97
West, W.H.C.
Jenny Lind Mania, The, 73
Weston, H. Burgess
Row, Burnie, Row, 30
When You and I Were Young, J.A. Butterfield,
109
White, Maude Valerie
Ophelia’s Song, 63
Whither Through the Meadow?, L.O. Emerson,
21
Whittier, J.G.
Song of the Free, 74
Who Got Dirt on the Carpet Again?, B. Crow-
ell, 58, 107
Widdecombe Fair, 92
Wild Moor, The, 80
Wohin?, Franz Schubert, 41
Wohlfahrt, Franz
Etude, Op. 45, #1, 34
Wolf, The, Froebel, 62
Woodbury, I.B.
Speed Away Speed Away, 110
Wrighton, W.T.
Dearest Spot on Earth, The, 35
Ya Viene El Alba, 69
Index 145

2

Copyright c 2004 Benjamin Crowell All rights reserved.

rev. November 4, 2005 Permission is granted to copy, distribute and/or modify this document under the terms of the Creative Commons Attribution Share-Alike License, which can be found at creativecommons.org. The book’s web site, www.lightandmatter.com/sight/sight.html, provides the book for downloading free of charge, and also gives further details about the copyrights of the individual melodies.

Half.Brief Contents I Rhythm 13 13 14 I-1 Whole. and Dotted Half-Notes I-3 Eighth Notes 14 14 I-4 Dotted Quarter Notes I-5 Sixteenth Notes 15 I-6 Dotted Eighth Notes I-7 Compound Time I-8 Syncopation I-9 Triplets 16 16 15 15 II II-1 II-2 II-3 II-4 II-5 II-6 II-7 II-8 II-9 Major Keys Introduction to Solfeggio 17 17 19 Melodies Containing Only Steps Leaps to ‘Do’ 25 Leaps Back to Remembered Notes Easy Leaps Within the Tonic Triad 25 27 32 The Leap of a Fifth Within the Tonic Triad Leaps of a Sixth Within the Tonic Triad Leaps Within the Dominant 37 44 34 Wider Leaps Within the Dominant 2 . and Quarter Notes I-2 3/4 Time.

Major Keys Wide Leaps Within the Subdominant 84 69 71 Leaps Within the Subdominant. Minor Keys Leaps of a Seventh 89 94 86 Other Perfect Fourths and Fifths The Diminished Seventh Chord. and the Harmonic Minor Scale 104 V Nondiatonic Materials 121 123 107 107 V-1 Secondary Dominants and Chromatic Passing Tones V-2 Blue Notes V-3 Relative Minor and Major VI The C Clef 127 3 .III III-1 III-2 III-3 III-4 Minor Keys Steps 55 53 53 Solfeggio in the Minor Mode Leaps Within the Tonic Triad Leaps Within the Dominant 58 61 IV IV-1 IV-2 IV-3 IV-4 IV-5 IV-6 IV-7 Other Diatonic Materials Leaps Between the Tonic and Dominant 69 Leaps Within the Subdominant.

47 G. . . 39 E . . rhythm of trepak from The Nutcracker. . The Itsy-Bitsy Spider. . . . . 46 C. . . 4/4 . .13 1 2 3 4 5 rhythm rhythm rhythm rhythm rhythm of of of of of Twinkle Twinkle. 3/4 14 I-3 Eighth Notes . .25 52 G. 43 G. . . . . . 16 I-1 Whole. . . 3/4 . 11 rhythm of Hush Little Baby.17 II-1 Introduction to Solfeggio . . . . . . . . . . . . 6/8 . . . . . . . . . 3/4 . . . . . . . . . C. . . . 4/4 . . . . . . . . Row. . . . 12/8 15 16 16 16 II-3 Leaps to ‘Do’ . and Quarter Notes . . . . . .15 18 rhythm of Alouette. . 4/4 . . . . . . . . . . . . . . 30 Beethoven. . . . . . . . . . Rockabye Baby. . . . . . . . ‘Herr. . . . . . . . . . . . . . . . . rhythm of march from The Nutcracker. . . . . . 4/4 . . . . . . . . . . . 10 rhythm of This Old Man. . .16 25 . . 45 Emerson.15 17 Tchaikovsky. . C. . Jimmy Crack Corn. 40 A . . 44 C. . . . . . . 6/8 . 28 C. . Go Away. . . . . 3/4 . 49 Lewis. C. . . . . . . . Little Brown Jug. . . . . . . . . 29 C. . . . B. . 42 G . 4/4 . . . . . .15 21 rhythm Bush. . . . . . . . . . . . 6/8 . . . 37 B . . . rhythm of The Entertainer. . . . . . . Chorale. . 25 4 . . 4/4 . . . .16 26 Tchaikovsky. . A. 2/4 . 3/4. . . . . . . . . . 6/8 . . . . . 15 20 rhythm of I’ve Been Working on the Railroad. . . . . . O Come. and Dotted HalfNotes . . . . . 4/4 . . . . . . . . . . . . . . . . 4/4 . 4/4 . . . . . . .17 II-2 Melodies Containing Only Steps . . . 41 D . 6/8 . . . . . . . 14 14 14 14 14 14 15 15 15 I-4 Dotted Quarter Notes . . . . . 3/4 . . 4/4 . . . 13 13 13 13 13 I-9 Triplets. . 3/4 . 4/4 . 9 rhythm of We Wish You a Merry Christmas. 32 G. . . . . . . . . . . . . . . . . . . . 15 19 Tchaikovsky. . . . . . .. . . . . . . . 3/4 . . . 4/4 . . Pop Goes the Weasel. . 33 carol (Bohemia). . . . 19 19 19 19 19 19 20 20 20 20 20 20 21 21 21 21 21 21 21 22 22 23 23 23 24 I-2 3/4 Time. Bingo. . . . 15 I-7 Compound Time . . 4/4 . 3/4 . . . . . 3/4 . 6/8 22 rhythm 23 rhythm 24 rhythm of . . . . . . . . . 16 II Major Keys. . 14 7 rhythm of Take Me Out to the Ball Game. . . . . . . . . . . E. 12 13 14 15 16 rhythm rhythm rhythm rhythm rhythm of of of of of Jingle Bells. . . . so schick’s mit mir’. . . . 4/4 . . . . C. . . . . . . . . . .19 27 C. . . . .14 6 rhythm of We Three Kings. . 3/4 . . . . . wie du willst. 34 Bach. . . C. 4/4 . . . . 15 I-6 Dotted Eighth Notes . . . . . . . 35 Latour. . .Contents Syncopation . rhythm of waltz of the flowers from The Nutcracker. . . .14 I-5 Sixteenth Notes. . . . . . 4/4 . . . . . . . . . Whither Through the Meadow?. Rain. . . . . . All Ye Faithful. of of of Here We Go Round the Mulberry . . . . . . . 3/4 . . . 4/4 . . . . . Rain. The Beautiful Angel. . . . . . 36 Lewis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4/4 . 4/4 . 3/4 . . .13 I-8Joplin. . . . 4/4 . . . . . . . . 31 G. 2/4. . Half. . . . . B . . . 3/4 . . . . . 48 Lewis. . . 4/4 . . . . 38 Lewis. . . . . . . . . . I Rhythm . . . . . . . Home On the Range. 4/4 . . . . . . . . . Ode to Joy. . . . . . . . . . . . . 4/4 . . . . . . Little Star. . 4/4 . 25 53 F. . . . . . . . . 3/4 . . 4/4. . . D. . . . . 4/4 . . . 1 . . . . . . 4/4 . . . . . . . . . . . . . . . . . . Away in a Manger. . 50 Lewis. . . . . 4/4 . . . . . . . . Row. . . . . . . . . . . . . . . . . . . 2/4. . Row Your Boat. . B . . . 51 Lewis.14 8 rhythm of O Little Town of Bethlehem. . . 1. . . . . .

. . 1 . . 90 G. . . . . 58 folk song. 61 G. . . . 6/8 . . . . . . 3/4 . . 4/4 . . . . . . Row. . . . . .II-4 Leaps Back to Remembered Notes . . 6/8 . . . . C. 4/4 . . 114 Sch¨nster Schatz. 2/4 . . . 33 33 33 33 II-7 Leaps of a Sixth Within the Tonic Triad. . 3/4 . 111 Lightly Row (Spain). . . 2/4. . . . . . . . . 3/4 . . . 34 34 34 34 34 34 35 35 35 35 35 36 36 II-5 Easy Leaps Within the Tonic Triad . . G. . . . . 2/4 . . . . 6/8 . . . . C. . A. 118 Serenata (California). . . . . . . . . . . . . . . . . 4/4 . . Hard Times Come Again No More. . . C. . . 3/4 . . . . . . . . . . . 112 God Speed the Right (Germany). . . . 60 G. . . . . Froebel. 68 Froebel. . . . 2. . . . . Font. 4/4 . . . . C. . . . . 3/8 F. . . A. A. . . . 2/4 .25 54 C. aria (Papageno) from ‘The Magic Flute’. . . F. 62 G. G. . . ‘Jesu. . . . . . . . 105 Derri`r’ Chez Nous il y a Trois Fleurs e (France). . . 3/4 . 45. 2/4 . . . . . . . . . . . 104 folk song. 2/4 . . G. . . How Long? (Florida). 3/4 . . . . . . . . G. . . . . . F. . . 63 Latham. . . . . . . . . . . . The Dearest Spot on Earth. . F. 96 Poor Rosy (South Carolina). 57 G. . . . adagio from string quartet # 1. . . from 12 Duets. . . 4/4 . . . . . . . . . . . . . . Menuet. . 2/4. . 4/4 . 2/4 . 3/4 . 4/4. 487. . . . . . . . The Son of God Goes Forth to War. . We Come Unto Our Father’s God. . . 113 Mozart. Beckoning the Pigeons. 106 Parry. . . 72 Annie Laurie. . Mein Engel. 12/8 . . . . G. . 64 A la Claire Fontaine (France). E . . . F. . . . . . 116 Musieu Bainjo (Louisiana). . . . aria ‘Sancta Mater’ from Stabat Mater. . 98 Wrighton. 9/8 . . . . . . 4/4 . . . . G. e . . C. . . 1 . . . . . . opening theme of Symphony #3 (‘Eroica’). . B 4/4 . . . . 2/4 . . C.27 59 Beethoven. . . . . . . meiner Seelen Wonne’. 4/4 . . . . 67 A Recouvrance (France). . 2/4. F. . Duet No. . . . . 56 Bach. . . . . 2/2 . . D. . . . 4/4. . . . 101 B . . . D. Etude. . 65 Pergolesi. . . G. . . . . 91 Wohlfahrt. a Gottes Lamm’. . . Revive Us Again. B . . 6/8 . . 25 25 25 26 26 85 86 87 88 The Beggar Girl (England). 77 Weston. 117 Brother. . . . . . . . o 115 Down in the Valley. . . . . E . 97 Poor Rosy (South Carolina). Broadway Sights. .32 80 81 82 83 84 G. Guide Me Home (Tennessee). . 79 Entendez-Vous Sur l’Ormeau (France). F. . . Jesu. . . . E . . Scarlatti. . . . 100 A. . 4/8 . . . . . . . 78 En Revenant d’Auvergne (France). . 76 Foster. . . . . . G. My Babe. . Font (France). . 4/4 . . . . . . . ‘Es ist gewisslich an der Zeit’. . . . Su. . 4/4. . Chorale. . . . F. G. . . 2/4 . . . 73 Cutler. . B . . . . 108 Ah! Mon Beau Chˆteau! (France). 103 Mozart. 4/4 . . A. 3/4. . . . 66 Sullivan. Member (South Carolina). . . . . G. . . 4/4 . . . . . . . . C. . 99 Absent Davie (Scotland). . . Pat-a-Cake. . . . . .34 89 G. . . . . 55 Bach. . Beckoning the Chickens. . 2/4 93 Praise. . . ¨ 107 Annchen von Tharau (Germany). . . . . . Home. . . . . 4/4. . 4/4 . . . . 2/4 a 109 Ainsi Font. . . . F. 4/4 . . . . . . . . . Rousseau. . . . G. . 4/4 . . 4/4. . B . . . . . . . 4/4 . . G. Burnie. . E . 2/4 94 Froebel. . Row. 3/4 . . B . . . . . . . . . . . . 4/4. . Dans la Forˆt Lointaine (France). Villikins and His Dinah. . . . K. . . . . 9/8 . . E . . . F. Hush. . . . . . 3/4 . . Chorale. . . 3/4 . . . . . By and By. A. . Hawthorne. . . G. 119 Mozart. . . . . . . Chorale. . . 92 As-Tu Vu la Casquette? (France). . 2/4 . . . . . . . F. . . . . . 75 Lawlan’ Jenny (Scotland). . . . Venite a Consiglio. . #1. . . . . . F. . . . . . 4/4 . . . . . G. 2/4 . 37 37 37 37 37 38 38 38 38 38 39 39 39 39 39 39 39 40 II-6 The Leap of a Fifth Within the Tonic Triad . 71 Bach. . . . . . . . D. . . 3/4 . . . . G. . . . 95 folk song. . . . . . 27 27 27 27 27 27 28 28 28 28 28 28 29 29 29 30 30 30 30 30 31 II-8 Leaps Within the Dominant 37 102 Mozart. . G. . . . . . .V. allegro from ‘Eine kleine Nachtmusik’. . F. . . . . . . . . 2/4. . . . . 3/4 . 69 Carmela (Mexico). . 70 My Father. . . . ‘Seelenbr¨utigam. . Op. . . . . . . . 110 Husband. . . E . 4/4 . . . . . . . . . . . . . G. . 74 Luther. 2/4 . 32 32 32 32 33 5 . . . 4/4 . . . .

. . . 145 folk song. 161 Chill Ether (Scotland). . . E . . G. . . . Soll Ich Mit Euch Gehn. . . wie du willst. . . . . . . . ‘Herr. . . . Chorale. The Fairy Boat. F. 165 Bach. . . . . . a. . . . . . . Lewis. . . . B . 6/8 . . . . . . F. . . . . 3/4 . . 133 If Your Foot Is Pretty. 59 6 . . . . . . D. B . . . . . . . c. . 3/4 . . . . 59 . 4/458 . . . . 148 Wach’ Auf. . . . . Bach. . 3/4 . . . 2/4 . . . G. . . . . . E . . . 4/4 . . . Show It (United States). . . . . . . . . 3/4 . . . . . G. menuet Oxford symphony. F. A. . . . . . . . . . . . . minuet. finale. 6/8 . . 126 Schubert. . . 2/4 . . Wedge. 3/4 . . . . . . Carpet . . . . . . . 3/4 . . 4/4 . Lewis. . . g/minor . . f. . . . . a. . . 3/8 . . . . . . . . 3/4 . . Member (South Carolina). . . . . . Lewis. . . . . . 3/4 . . . . . . . . . Chorale. . 4/8 . . . 142 Bach. . . 4/4 . . 4/4 . . . . 6/8 . . . 4/4 . . . . 2/4 . C. . . e 158 La Paloma Blanca (Arizona). . . . . . 4/8 . . . ‘Valet will ich dir geben’. . . . . . . 6/8 . . . 143 Arlequin Tient Sa Boutique (France). . . . . . . . .53 III-1 Solfeggio in the Minor Mode . . . wir sind hier’. . . . . 4/4 . 139 Our Baby (France). . 58 . . . 6/8 . . . A. . 58 . . . . . 167 Samuel. 58 . . D. . . . . E . Lewis. . . . . 169 B . g. .55 170 171 172 173 174 175 176 177 178 179 180 181 a. D. A. . . . . . . . . . F. . 2/4 . . 4/4 . Chorale. . America the Beautiful. . 44 44 44 44 45 45 45 45 45 46 46 46 46 47 47 47 47 48 48 48 III-3 Leaps Within the Tonic Triad . . . 149 Barbara Allan (Scotland). . G. . . . . 163 folk song. . . a 4/4 . . . . . . . . C. . a. . . . Old Man (Louisiana). . . . 146 Tu Eres Mas Bella (Costa Rica). 3/4. . . . . . . 2/4 . . . Lewis. . . 6/8 . 4/4 . . 153 The Gypsy Warning (Missouri). . ‘Mach’s mit mir. . . . 134 G. . . . . . . 121 Beuttner. . . . . . . . . . . a. G. so schick’s mit mir’. . .53 III-2 Steps . . 162 folk song. c. . A. Das Wandern. 2/4 . d. . . . . . . . . Gott. 58 Again?. . 4/4 . . Halt!. nach deiner Gut’. . . . . . Ch`re (Louisiana). Chorale. 6/8 . . G. . 4/4 a 125 Shout On. Children (Georgia). . . . 144 Ballade de Roland (France). . . Suzette. . . . . . Wedge. . . . B . . . . ‘Wenn wir in h¨chsten o N¨ten sein’. . Not Yet. . . . . . 147 Praise. . 2/4 . . . 48 49 49 49 49 49 50 50 50 51 51 51 51 51 52 III Minor Keys . . . . . . . . 4/4 . Venus theme from The Planets. . . . . . F. . 136 Eli Yale. . . . . . . 40 40 40 40 41 41 41 41 41 41 41 42 42 42 43 155 G. . . 4/4 . d. . 164 Bach. G. 154 Jungfr¨ulein. . 55 55 55 55 55 55 56 56 56 56 56 57 II-9 Wider Leaps Within the Dominant . . D . . 2/2 . . . 4/4 . . A . . Lewis. . . London symphony. . . . . . f. . . F. . 4/4. . . . . .120 Bach. Lewis. . . 138 Go ’Way. Who Got Dirt on the c. . Mein Hort. . . . 152 Dans Notre Jardin (France). . . . 6/8 . . a. . . B . . . B . D. . F. . . . ‘Liebster Jesu. . . . . . . 123 Bach. . 150 I’m a Pilgrim (Italy). . . . . . . . 3/4. . . . . . . . . . 3/4 . . . . ‘Es spricht der Unweisen Mund wohl’. . . . . . 151 Haydn. 159 Schubert. . 2/4 . . . G. 122 Bach. . . . 3/4 . . . . Chorale. . . . . . . . 4/4 .44 135 Bates. . . . . . . . . . . . . . . . ‘Wie bist du Seele in mir so gar betr¨bt’. . . . . . 132 Serenata (California). . 3/4 . . . 131 Holst. . . . . . . . . . . . . Chorale. . 2/4 . F. . . B . . . . . . . 4/4 . 4/4 . . . . . . . . . . G. a. 4/4 . 2/4 . . . . 4/4. . 2/4 . . 137 Krambambuli. . . . d. 160 C. . . 3/4 . . 4/4 . gavotte in G minor. 156 Strauss. . . . . . . . . 157 Ah. . . . . 58 . . . . A . . 3/4 . . . . . . . 3/2 . ‘Nun ruhen alle Walder’. . . . . . . . . 128 Haydn. . c. . . . . . . . . 2/4 . . 4/4 . . D . . . . . Wohin?. . 127 Bach. 3/4 . Chorale. . 130 Schubert. 6/8 . . . A. . . . . . . 168 Gar Lieblich Hat Sich Gesellet. . 1 . . Wedge. . . . . . . . E . . . . . 4/4 . B. . . G. Es kam ein treuer Bote. . d. . 3/4 . D. . Chorale. 129 Bach. 141 Bach. . . . . . . . . D. 4/4 . . . . . . . . 3/4 . . . . . . . u 124 Gardez Piti Milatte-l` (Louisiana). c. . . . . . . o 166 The Duke of Argyle’s Courtship (Scotland). . . . .58 182 183 184 185 186 187 188 189 c. . 140 Aux Marches du Palais (France). . .

. . b. . 4/4 . a. . . . ‘Herr. 4/4 . 70 III-4 Leaps Within the Dominant61 IV-2 Leaps Within the Subdominant. . 3/4 . . . . . .190 Wedge. . . . . . . 69 a 232 Schubert. . . . . . . Cangia Tue Voglie. . 213 Mozart. dear Lassie (Scotland). . Amarilli. 4/4 . . . Chorale. 4/4 . . . . . Chorale. . e. Chorale. . . . b. . theme from symphony in G minor. Am Feierabend. . Matthew’s Passion. 71 238 folk song. Major Keys . F. 73 245 I Want To Be Ready (United States). . . nun lass in Friede’. . . . . Chorale. 198 Wedge. . G. . 3/8 . . . . n 224 Bach. . 4/4 . . 71 237 Arlequin Marie Sa Fille (France). . . Danksagung an den Bach. If Ye Love Me. . 4/4 e 219 Angel de Mis Amores (Mexico). . 73 e 250 Strauss. . . 73 244 Da Unten Im Tale. . 4/4 . . . . . . e . 4/4 . . . . .’ from St. 2/4 . . . F. . . . c. . . . . . . . . . . . 4/4 . . . . . 3/4 . . . 69 234 zandunga folk song (Southern Mexico). .69 IV-1 Leaps Between the Tonic and Dominant . 3/4. . . 4/4 . g. . e. . 72 241 Lang Johnny More (Scotland). . . 197 Thou Poor Bird. 2/4 . . . . . 70 235 Carcini. f/major . . a. . . . 223 Mi Sue˜o (Mexico). G. . . 3/8 . Old Folks at Home. . 191 f. . . 2/4 . g. F. . g. c. . . . . 4/4 . melody from the notebook for Anna Magdalena. . . . . 66 66 67 67 IV Other Diatonic Materials. F. . . . . . . . B . . . . . . . . . 2/4 . . . c. C. g. . . . . 204 Wedge. F. . . . 3/4 . . . 192 Bach. . 72 243 Old Hundred. . . . . . 3/4. 2/4 . ‘Nun sich der Tag geendet hat’. . . . . . 215 White. Gavotte II from cello suite # 5. . 12/8 . . . The Wolf. . g. E . . 4/4 . 228 Handel. . Song of the Free. . . . . . . . . 71 240 Foster. 195 Bach. . . . . aria ‘Hush ye pretty warbling quire’ from Acis and Galatea. . . . . 4/4 . o Herzeleid’. 74 253 Handel. e. . e. . . . . . . . . . 4/4 . . . 212 Lolotte (Louisiana). ‘Von Gott will ich nicht lassen’. f. . . 4/4. . 211 Bach. 196 Mozart. . . 2/4 . . . . . Gr´nadiers! (Louisiana). 6/8 . . . . Ophelia’s Song. . . . . . . . . . . . . . 3/474 252 Whittier. g. . . . . . 3/4. . . . . . . c. . . . . . . g. 9/8 . . . . . . 6/8 . 2/4 . . . 221 Bach. . . . . . . 202 Wedge. C. . G. 206 lullabye (Russia). . . . . . . . . 3/4 . . . . . . . . . . C. . Moses (Unites States).69 230 Ya Viene El Alba (California). C. g. . . . . . . . . . . 4/4 . d. . . . a. . . . . aria ‘O Jordan. 75 255 The Huntsman. . . . . . 3/4 . .71 236 Jehovah. . . 193 Every Hour in the Day (Georgia). . . . . . . 3/4. . . . F. 1 . . G. 207 Las Tristes Horas. . . . . . . . . . . 200 My Field (Russia). . . ‘O Haupt voll Blut und Wunden. 2/4 . . . . . . . . 3/4. . . . . e. 214 Los Ojos Mexicanos (Mexico). . . . . . . Sacred Tide’ from Esther. d. . . Nachtwache 1. 72 242 The Bonniest Lass in a’ The Land (Scotland). . . . . D. Devotion. . 4/8 . 220 Schubert. 4/4 . . . g. ‘O Traurigkeit. g. . . . g. 229 Go Down. . . ‘Es steh’n vor Gottes Throne’. . . 3/4 . . 2/469 233 Grieg. Hallelujah (South Carolina). F. . g. . . . . . 6/8 . . 75 7 . . . . . . . Cangia. . E . . . a. . . . . . Mia Bella. . . . 73 246 Fasolo. D. . . . . 4/4 . . . . . . 222 Brahms. . . 74 251 I Ride an Old Paint (United States). . . . . . . 3/4. 218 En Avant. . . . . 73 249 Au Jardin de Mon P`re (France). . . . a. . . . . . . . . 4/8. . Chorale. . . . 194 Forget na’. 216 Bach. menuet from string quartet # 15. E . . . . . . . . . . . . . 4/4. . . . . . . . . 203 Wedge. . . . . 59 59 59 59 60 60 60 60 61 61 61 61 61 61 62 62 62 62 62 62 62 63 63 63 63 63 63 64 64 64 64 64 65 65 65 65 226 Wedge. . . 3/4 . . 69 231 Scarlatti. . 217 Reir Es Necesario (Mexico). . . . . . . Chorale. c. . . . F. . . . . . 3/2 . . . . c . . d. 3/4 . . 2/4 73 247 The Ash Grove (Wales). . . . g. . . . 4/4 . . . . Gi` il Sole dal Gange. . . . . . . . . The Jenny Lind Mania (United States). 2/4. 2/4. . 74 254 Tallis. . 210 Guten Abend. . . . . 3/4. 208 Wedge. g. d. 71 239 folk song. A . 209 Froebel. . 2/4 . . 3/4 . . . 2/4 . . . . . g. . . . . 2/4 . 2/4. . 199 Wedge. . . . . . . 3/4 . . . . . 225 Bach. 227 Wedge. . . . 4/4 . 201 g. 73 248 West. . . . . e . . . . 205 Bach. . . . . . . g. . .

. . 92 317 folk song (Russia). . . . The Mountains. Ibi Patria. . . . . . . . . . 2/4. . . . 3/4 . B. . . . 89 308 Carmela (Mexico). G . . 304 Entre Vous Tous Gens de la Ville (France). . . . . . . . . . C. . . . . . . . . . Diadem. 300 Bach. . 2/4 . . 2/4 . . . 4/4 . . 4/4 . . menuet from string quartet # 8. . 80 278 Avril (France). . The Blue Juniata. 4/4 . . . . . . A .86 293 Wedge. . 6/8 . . C. . . g. . . . . . . . . 83 285 Ubi Bene. 3/4 . 80 275 The Wild Moor (Missouri). . . . . . . . . . . . f. . . 93 321 Upidee. . . . . . . . . . . . . . . A. . . . . 82 283 Paradies. . . . . . . . 91 311 Mendelssohn. . 82 284 Die Sonne Scheint Nicht Mehr. Walk (Arkansas). introduction. . F. . d. . . 4/4 . . . . . . . . . F. . . . . . 3/4 . . .256 Moore. 3/4. . . . f.84 286 Mozart. . . . . 80 274 Mozart. . . . . . . 297 Hanukah O Hanukah. . 3/4 . 3/4 . . . 80 276 Brahms. 81 280 The Hallowed Spot (Missouri). 78 266 I’m In Trouble (Florida). . G. 4/4 . . . . 76 258 Mozart. . . 93 320 Mozart. . . . 288 Mozart. Long. A . . . . 4/8. introduction. . . . . . 4/4 . Bonne Hˆtesse (France). . 296 g. . . 3/4 . . . . . . . G. . . . . . . . g. . . . . . . 6/879 270 Cowboy’s Home Sweet Home (Arkansas). . . 2/4 . . He Leadeth Me. A . 294 Wedge. . The Song of All Songs. . . 4/4 . . 2/4 . . . . . . . . . . . . . . C. . . C. 92 316 Reir Es Necesario (Mexico). . d. . . F. . Beautiful Isle of Somewhere. 4/4 77 261 Bonnie Wee Window (Arkansas). . 2/4 . . Evening Bells. . . 85 IV-4 Leaps Within the Subdominant. . . . . . . . D. . . D . . E . . . . . . . . . . . . . B . 89 306 Hess. . C. G. 3/4 . . C. . . 76 260 Pergolesi. . . 4/4 . . . . 4/4 . . 92 315 Walk. . . 4/4 . 4/4 . 3/4. . . . d. . 2/4 . . . F. . aria ‘If with all your hearts ye truly seek me’ from Elijah. F. . . . . . . 2/4 . . . . . . . . G. .89 305 Mozart. . A. 78 265 Red River Valley. . . . M’ha Preso Alla Sua Ragna. . 4/4 . . . 4/4 . . . . . 92 318 A Quinze Ans (France). . 4/4 . . . . 301 Que No Te Amo (Mexico). D. . 77 262 Fearis. . . . A. . . . . 85 e 291 Foster. 86 86 86 86 87 87 87 87 87 88 88 88 IV-5 Leaps of a Seventh . tune from Stabat Mater. . . . . . . . . . G. . . . 2/4 . 1st symphony. . . 4/4 . . . 91 312 Bayly. A. . . . . 92 319 Mozart. F. . . 91 314 Widdecombe Fair (England). G. 303 folk song (Russia). . 4/8. . . . . . . . . menuet from string quartet # 1. . . . 3/4. 78 269 My Lodging Is On the Cold Ground. . . . f. . 85 292 Gladden. . . . . 2/4 . 81 282 The Ship That Never Returned (Missouri). . . . 3/4 . . 2/4 . . 287 Ellor. . . . A. . . Osanna (bass solo. . . London symphony. . 93 IV-3 Wide Leaps Within the Subdominant . 76 259 The Gold Band (Tennessee). . . 6/877 263 Bradbury. 3/4 . . . . trio from Brandenburg concerto # 1. . . . 295 Wedge. . . Presto . . . 6/8 . . Shepherdess. . . . . 12/8 . . . . 298 Vivo Llorando la Suerte (Mexico). E. 4/4. E . C. . . . . . B . . . opening from clarinet quintet. . 2/4 . . 79 272 The Braes O Yarrow (Scotland). 77 264 Sullivan. . . . F. . Requiem. . . . . 6/8 . 79 271 Calinda (Louisiana). . A. . allegro) from Sanctus. . . . . . . E. . . . 289 Adieu. 302 folk song (Russia). . . . 78 268 Rosa Lee. . . F. 83 290 Derri`re Chez Moi (France). . . . . . . . . 79 273 Gaudeamus Igitur. . . . . B . . . . . . . . . . . . F. d. 4/4 . . . . . . . . . . 3/4 . . . E . Minor Keys . 3/4. 90 310 Gwine Follow (South Carolina). 3/4 . 4/4 . 6/8 . 3/4 . . . . . A. . 2/4 . . . . . E. . . 3/4 . . . . . presto from string quartet # 7. . . . . o 84 84 84 84 8 . 91 313 Cradle Song. 4/4 . Little Charley Went a Fishing. 3/4 . . . presto from string quartet # 4. 78 267 Haydn. . A. 6/8 89 307 folk song. . f. . A . . . . . E . 81 279 Mozart. . . . C. 81 281 folk song (Russia). . . Long Ago. . . . . . . C. 6/8 . . F. . . . . . . . . . . 2/4 . . G. menuet from string quartet # 8. . . 90 309 Mozart. 75 257 Sinner Won’t Die No More (Tennessee). . . . . . . . . 3/4 . . . . . . . . . . . . . . menuet from string quartet # 10. . 4/4. . . . . . . . . c. . andante from string quartet # 2. . . . B. . . . rondo from string quartet # 6. 2/4. 80 277 Caroline (Louisiana). . . . . . . 299 Mozart. . . .

. D. 4/407 1 363 Conkey. . . . . G. D. . . . . . . . . . 2/4 95 327 Harris. E . .108 364 Shoals. . . .101 347 processional march song (Germany). . . . . . . Softly Now the Light of Day. . 3/4 . . . . . . Slumber My Darling. . . E. 73.103 IV-7 The Diminished Seventh Chord. . . . a. .112 378 McNaughton. . F.107 361 Kevin Barry (Ireland). . trio from string quartet # 1. G. B . O Sch¨nste Sch¨f’rin Mein.112 379 Mozart. . opening movement from string quartet # 1. . . G. #3 (‘Emperor’). . 3/4 . G. . . E . 3/4 . When You and I Were Young. . . . d. 6/8 . . . . . . . . . D. . Kathleen Aroon. . . G. . . .103 354 Beethoven. .102 353 Handel. 98 339 Giordiano. B . . . . .100 345 Bach. . . . . . Chant de Sion. After the Ball. Aura Lee. . . . . . . . . 97 333 Rimsky-Korsakov. . . B. . . . 3/4 . . . . Invention 2. . . . . 4/4. . 94 324 La Rana (Mexico). . . . . . . 4/4 . . C. . . . . . . 4/401 1 348 Milhaud. . 4/4 . . 3/4 . Scheherezade (theme from third movement). Lullabye . D. . . . . . . . . 4/4 . . . .100 346 Brahms. . 94 323 folk song. . . . .104 356 O Daniel (Florida). E . . . . Come. menuet from string quartet # 1. 3/4 . .101 349 Sagt Mir. . 2/4. . . . . . C. . . . . a. Tell Me of the Battle. . . G. . . adagio poco cantabile from string quartet. . . . . 4/4 . . allegro from string quartet # 6. . . . . . . . His Mercy Brightens. . . .108 365 Autrefois le Rat de Ville (France). . . . . Speed Away! Speed Away!. . F. .107 362 Who Got Dirt on the Carpet Again?. . . . .113 380 Haydn. . 97 334 Beethoven. Angels Ever Bright and Fair. . . 6/8. . 3/4 . . . . . F. . . 2/4 . . Caro Mio Ben. . . .104 357 Bach. 4/4 . 4/4 . . . .100 344 Pergolesi. opening from string quartet # 4. . . 3/4 97 336 Abt. o a 6/8 . . . 4/4 .114 u 9 . . . . . . . . . . A . Lilly Dale. Ye Disconsolate. . . . . . . .111 375 Dans le Port. 2/4 . 3/4. . . . 3/4 . . 99 e 341 Juanita. 4/4 . . 2/4 . . . 6/8. andante un poco allegretto from string quartet # 5. . . 4/4 . . . . . Ragion Sempre Addita. 99 342 Thompson. . D. . A Mighty Fortress Is Our God. Love’s Young Dream. . C . B .94 322 Mozart. . 4/4 . . A. . . . . .110 370 Mozart. . 3/4 .110 369 Woodbury. . . .102 350 Gunhilde. .105 V Nondiatonic Materials 107 V-1 Secondary Dominants and Chromatic Passing Tones . . . . . . . 3/4.111 373 Allan Maclean (Scotland). . . . . . 2/4 e 111 376 Root. and the Harmonic Minor Scale . . . . 3/8 . 3/8 110 371 Let God’s Saints Come In (Virginia). . 4/4 . . .104 358 Mozart. . 4/4 . G. . . . G. . c/minor . . . ‘W¨r’ Gott Nicht Mit Uns a Diese Zeit’. . . . . . 3/8 . . . . . 97 337 folk song (Germany). . . . . G. D. 1st symphony. . . . . . 4/4 . . . . . . . .109 368 Butterfield. . . . . F . . G. . . . 95 325 Poulton. . . c. 96 331 Foster. . God is Love.109 367 Keller. . 4/4 .100 343 / . . . . . C. Chorale. . . . . . . . C. . Il Est Arriv´ (France). . . . 4/4 . 3/4 . . . . A. . 2/4 110 372 Vivo Penando (California).102 352 Bach. . Take a Pair of Sparkling Eyes. . . . . . Good-Day to You!. . . . . . B . . . D. F.112 377 Cooper. . . . . G. . 99 340 R´mon (Louisiana). . . . 6/8 .104 359 Goldfaden. . . . . . 2/4 . . . A. . . 6/8. . . . A. A . 4/4 . c. aria from the Magic Flute.104 355 a. . . 3/4. . . Valedictory. . . . . . . . . .108 366 Webbe. . . 3/4 . 3/4. . . . 96 332 Were You Ever in Rio Grand.102 351 Ach. . . . . 96 328 Sullivan. introduction. . . . . . . . . . 4/4 . . 98 338 Moore. . . . . F. .. . . D. . . . . . G. . . . . 4/4 . . . . menuet II from cello suite # 2. . 2/2 . . . . . . . . . . . . 4/4. . Raisins with Almonds. . . . .111 374 Stradella. . . . . . Gentle Annie. . . . Sing Hey to You. . .107 360 Luther. . . . . . . . . 96 330 Foster. . . . . C. G.113 381 Crep´sculo (Mexico). . . 97 335 Mozart. . . . Beautiful Bells. Angel of Peace. . . . . 96 329 Sullivan. 2/4 . . . . . . . . . . . . . . Englische Schaeferin. 2/4 . F. Brother. . . . . . . aria from Stabat Mater. . . C. . Op. . . . . F. The Faded Coat of Blue.IV-6 Other Perfect Fourths and Fifths . . . . . . . . 95 326 Weber. C. . . . D. .

. Alice.125 VI The C Clef . B . . . . . . 4/4 . G. . . .127 415 Haydn. E . . . . 2/4 . London symphony.117 392 Shackleton. . . . . . . a. . 4/4 . Mein Hort. 6/8 . . . F. . . . . . . . . . .128 417 Wach’ Auf.117 391 Handel. A . . Above the Mountains. . . . . . . . .118 393 Adelphi School Song. . In My Merry Oldsmobile. A . . . . a. . . . 4/4 . . The Easy Winners.127 412 C. . 2/4 . .123 404 Schwesterlein. 3/4 . Roll (United States). . A . . . . . . . . .130 V-2 Blue Notes . . . 3/4 . Chorale. .114 384 Bach. 3/4 116 389 Erlaube Mir. . . . . . . B .123 406 Cradle Song (Sweden). . . .129 423 Haydn. . . . . f. . . . B . . G. . . . Maid of Athens. 4/4 . . . O Lord (Unites States). . . . 2/4 . . . C. .124 410 Bach. e. . . .130 427 Crouch. . . . Menuet. . . Vater. . 3/4 .128 420 folk song.127 414 The Ash Grove (Wales). . . Bourr´e II from orchestral suite #2. 2/4 . D. . . . Duet from The Magic Flute. . .123 407 Bach. 4/4 . . . . . . . . K. C. Menuet I from orchestral suite #1. ‘Befiehl du deine Wege’. . aria (Papageno) from ‘The Magic Flute’. 4/4 . C. .124 409 Feinsliebchen. . The Orange and the Black. . 2/4. 3/4 .120 405 Es Ritt ein Ritter. 4/4 . . 3/4 . ‘Das Walt’ Mein Gott. 3/4 . d. . . . . . . .122 V-3 Relative Minor and Major . 4/4 . . . . .382 Media Noche (California). . C. . 4/4 . .116 388 Edwards. 2/4 121 Cyclone at Ryecove (Missouri). .115 386 Hawthorne. tune from Stabat Mater. . . E .118 395 Ascher. G. . e b. . . . .119 397 Schubert. . . . . . . . . Venus theme from The Planets. C. . . .129 421 Pergolesi. 4/4 . . 487. . . 4/4 . . . . A. . . . Du Sollst. . 3/4 . . . . .129 422 Mozart. . 4/4. 2/4 . 4/4 . .120 398 Mozart. Duet No. . . . . . . Kathleen Mavourneen. .115 387 Joplin. . . . . . . . . 2. . E . . from 12 Duets. . . G.116 a 390 Bach. . . . b. . . . . . f. . . Out of Work. . .118 394 Allen. . aria ‘Sancta Mater’ from Stabat Mater. a. . 6/8 . .129 425 lullabye (Russia). . . . . . . b. . chorus from ‘Judas Maccabaeus’. . . g. . . . . F. . . . 3/4 . .123 10 . menuet Oxford symphony. . . . 4/4 .127 416 folk song. . . . Goodnight Angeline. . . . . . . . Jordan. . . .121 Roll.123 408 Bach. C. . . . ‘Gib Dich Zufrieden und Sei Stille’. G. . 6/8 . G. .115 385 The Cruel Mother (England). . 2/4 . . . Chorale.128 419 Holst. .121 Europe.114 383 Pergolesi.121 399 400 401 402 403 The Graveyard (South Carolina). . .119 396 Mozart. . finale. . . . C. 6/8 . . . . . . Sohn’. . .124 411 Crouch. . D. 6/8 . . . . 6/8 . Du Sollst. . .128 418 La Paloma Blanca (Arizona). . . . . . G. . 3/4 . . . Where Art Thou?. . . . C. 2/4 . .127 413 C. . 3/4 . .V. . . Chorale. . . G. G.129 424 Every Hour in the Day (Georgia). . a. . 4/4 . 3/4. . . . 3/4.122 ’Tis Me. F. . . . . . . . . 4/4 .129 426 Feinsliebchen. . . . Fein’s M¨dchen. . 4/4 . . . Kathleen Mavourneen. 3/4 .

and singing the tune the second time. and Quarter Notes 1 2 3 7 4 5 2 . All Ye Faithful 1 3 . rhythm of Little Brown Jug 5 Rain. After reading them. Little Star . I-1 Whole. rhythm of O Come. rhythm of Twinkle Twinkle. you may want to look at the titles. with the teacher counting beats the first time.Chapter I Rhythm The rhythms in this chapter all come from well-known tunes. Half. rhythm of Bingo 4 . you may wish to clap the rhythm twice. If you’re working with a teacher. Rain. which are given in the table of contents. Go Away . rhythm of .

and Dotted Half-Notes 6 7 3 4 3 4 I-3 Eighth Notes 8 9 10 11 3 4 I-4 Dotted Quarter Notes 12 13 7 8 . Rhythm . rhythm of We Wish You a Merry Christmas . rhythm of Jimmy Crack Corn 6 14 Chapter I. rhythm of Take Me Out to the Ball Game . rhythm of O Little Town of 9 10 Bethlehem . rhythm of Hush Little Baby 12 . rhythm of This Old Man 11 . rhythm of We Three Kings .I-2 3/4 Time. rhythm of Jingle Bells 13 .

18 19 Tchaikovsky. rhythm of I’ve Been Working on the Railroad 21 . rhythm of Away in a Manger .I. rhythm of trepak from The Nutcracker . rhythm of Here We Go Round the Mulberry Bush I-5. rhythm of Home On the Range P.I.14 15 16 3 4 3 4 3 4 I-5 Sixteenth Notes 17 2 4 I-6 Dotted Eighth Notes 18 19 20 3 4 I-7 Compound Time 21 14 6 8 15 16 17 . rhythm of Alouette P. rhythm of Rockabye Baby . Tchaikovsky. Sixteenth Notes 15 . rhythm of waltz of the flowers from The Nutcracker 20 .

rhythm of march from The Nutcracker 16 Chapter I. rhythm of The Entertainer 26 P.I. Rhythm . rhythm of Pop Goes the Weasel 24 . rhythm of Row. Tchaikovsky.22 23 24 6 8 6 8 12 8 I-8 Syncopation 25 2 4 I-9 Triplets 26 5 3 3 22 25 . Row. Row Your Boat Scott Joplin. rhythm of The Itsy-Bitsy Spider 23 .

For instance. In the key of D. for example: do re mi fa so la ti do This may seem confusing at first. . ‘do’ is always the tonic. who don’t know enough music theory to recognize the roles of the different notes in relation to the tonic in a key that has sharps or flats.’ the tonic. in which ‘do’ is always C. and so on. ‘re’ is always D.Chapter II Major Keys II-1 Introduction to Solfeggio The following syllables are traditionally used for the seven notes of the major scale. This book uses the movable do system. and understand the relationship between the imagined pitches so as to be able to translate them into fingerings. (There is also a fixed do system. do re mi fa so la ti do They originate from the Latin hymn Ut Queant Laxis. but it’s the only system that makes sense to the ear. In this system. The solfeggio syllables are a device for making the recognition of the relationships automatic.) Sight singing is first and foremost a method of training your brain to understand relationships between musical notes. and the other syllables are assigned to the other notes according to their role in the key. For example. The fixed do system is often taught to European schoolchildren. a jazz musician improvising a solo on the saxophone needs to be able to imagine a melody. and is therefore an important component of musicianship even if you consider yourself primarily a composer or instrumentalist rather than a singer. in which the first word of each successive musical phrase began on the next note of the scale. ‘ti’ is always a note with a tendency to move up a half-step to ‘do.

The leap of a major sixth in ‘My Bonnie’ is a leap from ‘so’ up to ’mi. we recognize this as the interval of a half-step (minor second).’ but your brain will probably refuse to recognize the leap from ‘re’ to ‘ti’ as being the same thing.’ we see that the next note in the melody is C. That is. In the second technique. or to sing each note according to its role in the key. Shakespeare. and the process is extremely rapid because most of the patterns are familiar. We might as well ask Shakespeare what he does when he reads words: ‘Mr.’ Some people learn two melodies. one doesn’t use either technique exclusively. we know how to sing ‘do’ because of its special sound in relation to the key: it’s the tonic. There is also a pitfall to this technique of learning to hear intervals via a personalized list of familiar melodies. one for ‘so-mi’ and one for ‘re-ti. Major Keys . Because the goal is rapid recognition of patterns at a subconscious level. For instance. This is a good thing to learn. we actually become fluent readers through the act of reading large amounts of English. One can learn to sing intervals. many people learn to recognize the interval of a major sixth using a tune such as ‘My Bonnie Lies Over the Ocean’ or the NBC jingle. or in relation to the tonic. which is ‘ti. do you use phonics. and having just sung B.’ In the first approach.’ Some might even do another two for the downward leaps ‘mi-so’ and ‘ti-re!’ This just shows that the technique is artificial and not usually very useful. just as it’s good to learn that an E at the end of a word makes the preceding vowel long. because ‘re’ and ‘ti’ play different roles in the key than ‘so’ and ‘mi. that we’re singing a piece of music in the key of C major.Broadly speaking. 18 Chapter II. we can hear each note in relation to the preceding note. so we move to the note a half-step above the one we’ve just sung. which is ‘do. but having learned them. there are two main approaches to learning solfeggio singing. In reality. Suppose. the note that sounds like it would be a good one to end the song on. for example.’ Learning the phonics rules is necessary. one should not expect to become a fluent sight singer by artificial devices. or do you recognize whole words?’ A fluent reader is actually decoding patterns at a subconscious level. But a fluent reader doesn’t look at the word ‘sure’ and think ‘silent E makes the U long.

Locate the notes of the tonic chord on the staff to use as reference points. try singing ‘do re mi fa so’ in the old key. If you have an instrument at hand.’ and finally singing ‘do ti do’ — with authority! 31 3 4 32 3 4 II-2.II-2 Melodies Containing Only Steps In each example. If an instrument is not available. play the tonic. Melodies Containing Only Steps 19 . start by identifying which line or space on the staff represents ‘do. ‘do mi so do’ for the octave spanned by the first example. e.’ the tonic. pick a note for ‘do’ that will put the melody in the most comfortable part of your vocal range.’ If you have trouble convincing your brain to switch keys. then repeating the last note as ‘do. 27 28 29 3 4 famous tune (identified in the table of contents) 30 The following example is in a new key: its ‘do’ is the former ‘so.g.. and then sing enough notes from the tonic chord to bracket the range of the melody.

‘Ti’ in the previous key is flattened. Chorale.R.’ 33 anonymous. so the one with five sharps actually isn’t any more difficult to read. Bach. wie du willst.R. you should be able to hear its strong tendency to resolve down to ‘mi. Major Keys . and becomes ‘fa’ of the new key. flattened version of the note correctly. If you’re singing the new.S. Lewis 38 L. so schick’s mit mir’ The Beautiful Angel 36 L.’ 38 We now begin moving around the circle of fifths in the opposite direction. 20 Chapter II.33 34 Moderato 35 6 8 Note that the following two examples both have the tonic on the line at the center of the staff. Lewis 35 Pierre Latour. 36 3 4 37 The following five melodies all begin on ‘so. carol (Bohemia) 34 J. ‘Herr.

Melodies Containing Only Steps 21 .39 3 4 40 3 3 41 The following two melodies both have the tonic at the same place on the staff. Emerson. 42 43 6 8 Canon for two voices: 1 2 44 Canon for two voices: 1 2 45 2 4 45 L.O. Whither Through the Meadow? II-2.

3 4 46 3 4 7 Canon for two voices: 47 6 22 Chapter II. Major Keys .

Melodies Containing Only Steps 23 .R.48 49 8 6 8 50 6 8 48 L.R. Lewis II-2. Lewis 50 L. Lewis 49 L.R.

Major Keys . Lewis 24 Chapter II.51 5 9 13 17 51 L.R.

S. Leaps to ‘Do’ 25 . Gottes Lamm’ a 56 J. Jesu.II-3 Leaps to ‘Do’ 52 3 4 Adagio 53 3 4 II-4 Leaps Back to Remembered Notes * * 54 55 7 * * 56 7 * * 55 J. ‘Seelenbr¨utigam. Bach.S. Chorale. meiner Seelen Wonne’ II-3. Chorale. Bach. ‘Jesu.

The following example uses both leaps back to remembered notes and leaps to the tonic. because you only need to return to the same note after each low G. 58 3 4 58 folk song 26 Chapter II. * * * * 57 6 * * The next tune is easier than it appears. Major Keys .

Broadway Sights 64 anonymous. Easy Leaps Within the Tonic Triad 27 . and an octave within the tonic triad. a fourth. A la Claire Fontaine (France) II-5. famous tune (identified in the table of contents) 59 3 4 60 61 6 8 62 7 Allegretto 63 6 8 Allegro 64 2 4 63 W.II-5 Easy Leaps Within the Tonic Triad This section introduces leaps of a third. Latham.H.

Sullivan 67 anonymous. Carmela (Mexico) 70 anonymous.S. A Recou68 69 vrance (France) Froebel. Pat-a-Cake anonymous. My Father. How Long? (Florida) 28 Chapter II. aria ‘Sancta Mater’ from Stabat Mater A.65 66 6 8 67 5 68 12 8 3 3 69 3 4 8 70 8 65 66 Giovanni Battista Pergolesi. Major Keys .

71 6 72 8 73 6 11 74 71 J. Annie Laurie Goes Forth to War 74 Martin Luther. Chorale. Bach. Easy Leaps Within the Tonic Triad 29 .S. Cutler.S. We Come Unto Our Father’s God 73 H. ‘Es ist gewisslich an der Zeit’ 72 anonymous. The Son of God II-5.

En Revenant d’Auvergne (France) 77 H. Burnie. Row 78 anonymous. Hard Times Come Again No More Row. Major Keys . Lawlan’ Jenny (Scotland) 76 Stephen Foster. 30 Chapter II.7 75 5 3 4 3 76 6 11 Allegretto 77 2 4 The following example includes a leap of a sixth.’ Con moto 78 2 4 75 anonymous. but it’s an easy leap back to ‘do. Burgess Weston.

Easy Leaps Within the Tonic Triad 31 .’ 1 2 3 4 79 79 anonymous. Entendez-Vous Sur l’Ormeau (France) II-5.This four-part canon includes a leap of a sixth to ‘do.

II-6 The Leap of a Fifth Within the Tonic Triad 80 7 81 7 3 4 Allegro 82 3 4 83 8 2 4 16 82 Alessandro Scarlatti. Su. My Babe 32 Chapter II. Venite a Consiglio 83 J. Major Keys . Hush. Rousseau.J.

Beckoning the Pigeons 86 Alice Hawthorne.84 2 4 Grazioso 85 5 6 8 Moderato 86 5 87 3 8 Andante 88 10 2 4 84 85 anonymous. II-6. By and By Froebel. The Beggar Girl (England) 87 Home. Dans la Forˆt Lointaine (France) e anonymous. The Leap of a Fifth Within the Tonic Triad 33 .

II-7 Leaps of a Sixth Within the Tonic Triad 89 90 9 8 91 5 Allegro vivace 92 2 4 7 93 2 4 94 91 2 4 92 Franz Wohlfahrt. Major Keys . Beckoning the Chickens 93 anonymous. 45. As-Tu Vu la Casquette? (France) 94 Member (South Carolina) Froebel. 34 Chapter II. Praise. #1 anonymous. Etude. Op.

’ 98 99 95 96 97 folk song anonymous. Absent Davie (Scotland) 98 W. it is given in two keys.95 2 4 The next example includes both leaps within the tonic triad and leaps to ‘do. Poor Rosy (South Carolina) anonymous. II-7.’ Because of its wide range. Poor Rosy (South Carolina) 99 Wrighton.T. Leaps of a Sixth Within the Tonic Triad 35 . The Dearest Spot on Earth anonymous. make sure to choose a key in which you can actually reach all the notes! 96 9 2 4 97 9 2 4 Another example that includes leaps to ‘do.

100 Canon for two voices: 1 2 101 3 4 36 Chapter II. Major Keys .

and sixths are included in section II-9. famous tune (identified in the table of contents) 102 103 3 4 104 3 4 Un poco allegretto 105 2 4 106 8 3 4 107 3 4 103 W. from 12 Duets.II-8 Leaps Within the Dominant This section introduces leaps of a third within the dominant. fifths. Mozart.V. Villikins and His Dinah 107 anonymous. Menuet. and leaps of a seventh within the dominant chord are deferred until section IV-5. K. Derri`r’ Chez Nous il y e ¨ a Trois Fleurs (France) 106 John Parry. 487 104 folk song 105 anonymous.A. Leaps Within the Dominant 37 . 2. Duet No. Fourths. Annchen von Tharau (Germany) II-8.

Major Keys . a Revive Us Again 111 anonymous. Ainsi Font. Ah! Mon Beau Chˆteau! (France) 109 anonymous. Lightly Row (Spain) 112 anonymous. God Speed the Right (Germany) 38 Chapter II. Font. Font (France) 110 John Husband.9 Moderato 108 8 2 4 109 2 4 110 111 9 2 4 Maestoso 112 108 anonymous.

A. Mozart.8 113 2 4 Hell und freudig 114 12 3 4 115 9 8 116 2 4 117 118 3 3 3 3 3 113 W. Guide Me Home (Tennessee) 118 anonymous. Musieu Bainjo (Louisiana) 117 anonymous. Brother. o Down in the Valley 116 anonymous. Serenata (California) II-8. Mein Engel 115 anonymous. Sch¨nster Schatz. Leaps Within the Dominant 39 . aria (Papageno) from ‘The Magic Flute’ 114 anonymous.

Chorale.S. Major Keys .A. Es kam ein treuer Bote 122 J. adagio from string quartet # 1 120 J. Mozart.119 3 4 120 121 122 6 123 6 Allegretto con grazia 124 119 W. ‘Valet will ich dir geben’ 123 J. Gardez Piti Milatte-l` (Louisiana) u a 40 Chapter II. ‘Wie bist du Seele in mir so gar betr¨bt’ 124 anonymous. Bach.S. Chorale. ‘Es spricht der Unweisen Mund wohl’ 121 Nikolaus Beuttner. Chorale.S. Bach. Bach.

6

125

2 4

126

127
6

128

3 4

129

130

125

anonymous, Shout On, Children (Georgia) 126 Franz Schubert, Wohin? 127 J.S. Bach, Chorale, ‘Liebster Jesu, wir sind hier’ 128 Franz Joseph Haydn, menuet Oxford symphony 129 J.S. Bach, Chorale, ‘Mach’s mit mir, Gott, nach deiner Gut’ 130 Franz Schubert, Halt!

II-8. Leaps Within the Dominant

41

131

3 4

3

3

3

132
3 3 3

5

3

3

3

3

Moderato

133

3 8

134
7

3 4

14

131

Gustav Holst, Venus theme from The Planets Is Pretty, Show It (United States)

132

anonymous, Serenata (California)

133

anonymous, If Your Foot

42

Chapter II. Major Keys

II-8. Leaps Within the Dominant

43

Go ’Way. Old Man (Louisiana) 44 Chapter II. Major Keys . Krambambuli 138 anonymous. famous tune (identified in the table of contents) 135 136 9 2 4 137 2 4 138 8 3 4 136 anonymous. Eli Yale 137 anonymous. Leaps of a seventh are deferred until section IV-5.II-9 Wider Leaps Within the Dominant This section introduces leaps within the dominant as broad as a sixth.

139 2 4 140 6 8 141 7 142 3 4 Un poco allegretto 143 7 2 4 144 6 8 139 anonymous. Wider Leaps Within the Dominant 45 . wie du willst. Arlequin Tient Sa Boutique (France) 144 anonymous.S. Bach.S. Aux Marches du Palais (France) 141 J. ‘Herr. so schick’s mit mir’ 142 J. Ballade de Roland (France) II-9. minuet 143 anonymous. Our Baby (France) 140 anonymous. Bach. Chorale.

7 145 8 6 8 146 14 2 4 147 6 2 4 11 145 folk song 146 anonymous. Member (South Carolina) 46 Chapter II. Tu Eres Mas Bella (Costa Rica) 147 anonymous. Major Keys . Praise.

Barbara Allan (Scotland) Franz Joseph Haydn. London symphony 150 anonymous. Wider Leaps Within the Dominant 47 . Mein Hort 149 anonymous. Wach’ Auf. finale. I’m a Pilgrim (Italy) II-9.Mit kraeftiger Leidenschaft 148 7 6 8 149 4 150 6 11 151 148 151 anonymous.

Allegro 152 7 2 4 3 3 3 3 153 3 4 Lebhaft. Soll Ich Mit Euch Gehn a 153 anonymous. 48 Chapter II. Dans Notre Jardin (France) Jungfr¨ulein. doch zart 154 6 11 Allegretto 155 6 152 anonymous. The Gypsy Warning (Missouri) 154 anonymous. Major Keys .

La Paloma Blanca II-9. Ch`re (Louisiana) e (Arizona) 159 Franz Schubert. Ah.Molto mesto 156 6 8 Allegretto comodo 157 9 3 4 158 5 6 8 9 159 4 8 Andante 160 3 4 156 Richard Strauss. Not Yet 157 anonymous. Das Wandern 158 anonymous. Suzette. Wider Leaps Within the Dominant 49 .

S.161 5 3 4 162 9 3 4 17 Fine 3 8 D. Major Keys . al fine 163 7 6 8 164 161 anonymous. Bach. Chorale.S. ‘Nun ruhen alle Walder’ 50 Chapter II. Chill Ether (Scotland) 162 folk song 163 folk song 164 J.

Chorale. The Fairy Boat 168 anonymous. Bach. ‘Wenn wir in h¨chsten N¨ten sein’ 166 anonymous. Gar Lieblich Hat Sich Gesellet II-9.S. The Duke of Argyle’s Courtship (Scotland) o o Harold Samuel.6 165 5 166 5 3 4 3 Andante 167 2 4 Anmutig 168 8 2 4 165 167 J. Wider Leaps Within the Dominant 51 .

Canon for two voices: 1 2 169 52 Chapter II. Major Keys .

I suggest you use the first one. ‘Do’ is still the tonic. the vowel ‘i’ is used for a sharpened note. ‘so’ the dominant. ‘so-ti-do’ is still a formula for a cadence. If you don’t have a teacher who wants you to use one system or another. the names of the notes stay the same when switching between the parallel major and minor. and so on. Others prefer this: la ti do re me fi si la la so fa mi re do ti la This system highlights the relationship between the minor and its relative major. In this system. The chromatic scale looks like this: . ‘ti’ the leading tone. and ‘e’ for a flattened one. because it lets you recycle many of the patterns you’ve learned in minor.Chapter III Minor Keys III-1 Solfeggio in the Minor Mode Some people sing in the minor mode using these solfeggio syllables: do re me fa so la ti do do te le so fa me re do This system has the advantage that most of the notes have the same functions as in the major mode. In both systems. For instance.

(I use my own enharmonic system in which the chromatic scale is ‘do gu ri bu mi fa ka so ja la pa ti do.’) 54 Chapter III.do di re ri mi fa fi so si la li ti do do ti te la le so se fa mi me re ra do The important thing is to pick a system and learn it thoroughly. Minor Keys .

R. Lewis III-2. Lewis 175 L. The rhythmic figure is the same as in the preceding tune. Steps 55 .R.III-2 Steps The purpose of the first exercise is to get used to the solfeggio syllables used in minor. Largo 173 3 4 174 3 4 175 8 3 4 174 L. Poco a poco accelerando 170 171 6 8 Largo 172 3 4 This melody introduces the use of the ascending and descending forms of the melodic minor scale.

gavotte in G minor 181 L. Lewis 180 J.S.R. Bach. Lewis 179 L.R.176 177 178 3 4 179 3 2 180 4 181 176 L. Lewis 177 L. Minor Keys .R. Lewis 56 Chapter III.R. Lewis 178 L.R.

Steps 57 .5 9 III-2.

A.III-3 Leaps Within the Tonic Triad 182 183 184 3 4 185 3 3 186 9 3 4 187 5 184 G. Minor Keys . Wedge 185 Who Got Dirt on the Carpet Again? 58 Chapter III.

A. nun lass in Friede’ anonymous. Forget na’. ‘Herr.188 2 4 189 2 4 190 2 4 191 192 7 193 2 4 194 3 4 188 G.A. Wedge Every Hour in the Day (Georgia) 190 194 G. dear Lassie (Scotland) 193 anonymous. Bach. Chorale.S. Leaps Within the Tonic Triad 59 . Wedge 189 G. III-3. Wedge 192 J.A.

Thou Poor Bird 60 Chapter III.S. Bach.6 11 195 famous tune (identified in the table of contents) 196 Round: 1 2 3 4 197 195 J. ‘Es steh’n vor Gottes Throne’ 197 anonymous. Minor Keys . Chorale.

Wedge 203 G. Wedge 199 G.A.III-4 Leaps Within the Dominant 198 3 4 199 2 4 Andante famous tune (identified in the table of contents) 200 Vivace 201 3 9 8 5 202 3 4 203 198 3 4 G.A. Leaps Within the Dominant 61 . Wedge 202 G.A.A. Wedge III-4.

lullabye (Russia) anonymous. Guten Abend 207 62 Chapter III. Bach. Las Tristes Horas 208 G. The Wolf 210 anonymous.A. Wedge 205 J. doch nicht schnell 210 9 3 8 204 G. melody from the notebook for Anna Magdalena 206 anonymous.A.S. Wedge 209 Froebel.204 3 4 205 3 4 Largo 206 207 2 4 208 3 4 209 4 8 Draengend. Minor Keys .

S.211 12 8 212 3 6 213 3 4 3 214 3 3 2 4 Andantino 215 3 216 211 J. menuet from string quartet # 15 214 anonymous. Chorale. ‘Nun sich der Tag geendet hat’ III-4.S. Bach. Los Ojos Mexicanos (Mexico) 215 Maude Valerie White. Lolotte (Louisiana) 213 W. Ophelia’s Song 216 J. Mozart. Leaps Within the Dominant 63 . Gavotte II from cello suite # 5 212 anonymous.A. Bach.

En Avant. Reir Es Necesario (Mexico) 218 anonymous. Chorale. Am Feierabend 221 J. Bach. Minor Keys . Gr´nadiers! (Louisiana) 219 anonymous. o Herzeleid’ 64 Chapter III.217 3 2 4 Allegro marziale 218 6 11 219 8 3 3 2 4 3 3 220 221 217 anonymous. Angel e de Mis Amores (Mexico) 220 Franz Schubert. ‘O Traurigkeit.S.

Matthew’s Passion 225 J. ‘O Haupt voll Blut n und Wunden.S. Bach. Wedge III-4. Nachtwache 1 223 anonymous. ‘Von Gott will ich nicht lassen’ 226 G.’ from St.A. Leaps Within the Dominant 65 .S. Mi Sue˜o (Mexico) 224 J. Chorale. Bach.Langsam 222 223 3 4 224 6 11 225 7 226 4 8 222 Johannes Brahms. Chorale.

A. Sacred Tide’ from Esther 66 Chapter III. Minor Keys . Handel.F. aria ‘O Jordan. Wedge 228 G.5 227 3 4 228 10 3 4 17 26 35 43 227 G.

Leaps Within the Dominant 67 .51 Lento famous tune (identified in the table of contents) 229 6 12 III-4.

68 Chapter III. Minor Keys .

an interval which sounds like a major third. . Gi` il Sole dal Gange a 232 Franz Schubert. 233 230 anonymous.Chapter IV Other Diatonic Materials IV-1 Leaps Between the Tonic and Dominant The following three songs contain the leap from ‘ti’ to ‘mi.’ 230 2 4 Allegro giusto 231 7 3 4 232 The next three use leaps of a diminished fourth. and is typical of minor keys. Ya Viene El Alba (California) Danksagung an den Bach 233 Grieg 231 Alessandro Scarlatti.

Amarilli. Other Diatonic Materials . Mia Bella 70 Chapter IV. zandunga folk song (Southern Mexico) 235 Giulio Carcini.234 9 3 4 Moderato affetuoso 235 234 anonymous.

Leaps Within the Subdominant. this is not usually true of the subdominant. the most important new leaps to learn to sing are the ones between ‘do’ and ‘la’ and between ‘fa’ and ‘la. Hallelujah (South Carolina) folk song 237 anonymous. Since thirds are the most common leaps. Jehovah. Major Keys The first two tunes clearly imply the subdominant chord in the marked measures. Although dominant harmony can often be implied strongly with only one or two notes. Major Keys 71 . Arlequin Marie Sa Fille (France) 238 folk song IV-2. because of its weaker character.’ This melody leaps from ‘do’ to ‘la:’ * * 238 2 4 This one jumps from ‘la’ to ‘fa:’ * 239 2 4 famous tune (identified in the table of contents) 240 236 239 3 3 3 anonymous. the melody leaps into or out of ‘la’ without spelling out the subdominant chord explicitly. * * 236 8 3 4 * Allegro * 237 3 4 More commonly.IV-2 Leaps Within the Subdominant.

Once one’s ear adjusts to the sound of the scale. the first is pentatonic.5 3 3 3 A great deal of Scottish folk music uses a major scale that omits ‘ti.’ ‘Fa’ is sometimes left out as well. while the second uses the full major scale. or pentatonic. Other Diatonic Materials . scale. the characteristic leap between ‘do’ and ‘la’ no longer sounds like a leap at all. 241 5 2 4 9 13 242 2 4 241 anonymous. forming a five-note. Of the following two examples. The Bonniest Lass in a’ The Land (Scotland) 72 Chapter IV. Lang Johnny More (Scotland) 242 anonymous. which you may wish to ignore. The first example has been notated with the style’s typical elaborate ornamentation.

Old Hundred 244 anonymous. Major Keys 73 . I Want To Be Ready (United States) G. Da Unten Im Tale 245 anonymous. West.C.B. Au Jardin de Mon P`re (France) e IV-2. Cangia Tue Voglie 247 anonymous. Fasolo. Cangia.243 Sanft bewegt 244 3 4 Andante 245 2 4 Moderato 246 2 4 247 3 4 248 2 4 Animato 249 9 6 8 243 246 anonymous.H. The Ash Grove (Wales) 248 W. The Jenny Lind Mania (United States) 249 anonymous. Leaps Within the Subdominant.

F. Whittier. Other Diatonic Materials . Devotion 251 anonymous. I Ride an Old Paint (United States) G. Handel. Song of the Free 74 Chapter IV. aria ‘Hush ye pretty warbling quire’ from Acis and Galatea 252 J.G.Moderato 250 251 8 3 4 Andante sostenuto 252 3 2 8 253 8 3 8 250 253 Richard Strauss.

The Huntsman 256 Thomas Moore. Major Keys 75 . If Ye Love Me 255 anonymous. Leaps Within the Subdominant. Evening Bells IV-2.254 7 255 7 6 8 14 256 9 3 4 17 254 Thomas Tallis.

A. opening from clarinet quintet The Gold Band (Tennessee) 260 Giovanni Battista Pergolesi. tune from Stabat Mater 259 anonymous. 76 Chapter IV. Mozart. Other Diatonic Materials .257 5 10 258 259 5 3 4 260 8 257 anonymous. Sinner Won’t Die No More (Tennessee) 258 W.

D.15 261 7 6 8 Moderato 262 6 8 263 6 11 264 2 4 261 anonymous. Fearis. The Blue Juniata 263 W. Major Keys 77 . Sullivan. Beautiful Isle of Somewhere Leadeth Me 264 M. Bradbury. He IV-2.S. Leaps Within the Subdominant.B. Bonnie Wee Window (Arkansas) 262 J.

London symphony 268 anonymous. Red River Valley 266 anonymous.9 265 266 3 267 8 Allegretto 268 9 2 4 269 6 8 265 anonymous. Other Diatonic Materials . I’m In Trouble (Florida) 267 Franz Joseph Haydn. My Lodging Is On the Cold Ground 78 Chapter IV. Rosa Lee 269 anonymous. introduction.

Calinda (Louisiana) 272 anonymous.5 9 13 270 4 12 8 271 6 8 272 10 3 4 270 anonymous. Cowboy’s Home Sweet Home (Arkansas) Braes O Yarrow (Scotland) 271 anonymous. Leaps Within the Subdominant. The IV-2. Major Keys 79 .

Gaudeamus Igitur 274 W. 1st symphony 277 anonymous. Other Diatonic Materials . The Wild Moor (Missouri) 276 Johannes Brahms. introduction. Caroline (Louisiana) 80 Chapter IV.A. andante from string quartet # 2 275 anonymous. Mozart.Maestoso 273 7 3 4 274 3 4 275 7 3 4 3 3 3 3 3 3 3 276 3 277 3 3 3 5 3 273 anonymous.

A. menuet from string quartet # 10 (Missouri) 281 anonymous. folk song (Russia) 280 anonymous.278 5 6 8 279 7 3 4 3 3 3 280 8 3 4 3 3 3 Adagio 281 9 2 4 278 anonymous. The Hallowed Spot IV-2. Avril (France) 279 W. Leaps Within the Subdominant. Mozart. Major Keys 81 .

Other Diatonic Materials . The Ship That Never Returned (Missouri) anonymous. Die Sonne Scheint Nicht Mehr 283 Pier Domenico Paradies. M’ha Preso Alla Sua Ragna 284 82 Chapter IV.282 8 2 4 Allegretto mosso 283 6 2 4 12 17 22 Gehalten und empfindungsvoll 284 282 anonymous.

Ubi Bene.6 Lebhaft 3 4 10 Moderato 285 6 8 Vivace 7 13 285 anonymous. Major Keys 83 . Leaps Within the Subdominant. Ibi Patria IV-2.

IV-3 Wide Leaps Within the Subdominant 286 9 2 4 287 8 3 4 16 288 2 4 Moderato 289 7 286 289 W. Mozart. presto from string quartet # 4 anonymous. Adieu. rondo from string quartet # 6 84 Chapter IV.A. Ellor. Mozart.A. Other Diatonic Materials . Bonne Hˆtesse (France) o 287 J. Diadem 288 W.

W. Wide Leaps Within the Subdominant 85 . The IV-3. The Song of All Songs 292 S.290 7 2 4 13 Moderato 291 292 5 9 13 290 anonymous. Gladden. Derri`re Chez Moi (France) e Mountains 291 Stephen Foster.

Minor Keys 293 2 4 294 3 4 295 2 4 Largo 296 5 Presto 297 9 4 8 18 293 G.A. Wedge 294 G. Hanukah O Hanukah 86 Chapter IV.A. Other Diatonic Materials . Wedge 295 G. Wedge 297 anonymous.A.IV-4 Leaps Within the Subdominant.

S. Bach.29 298 9 2 4 299 3 4 300 3 4 301 8 Allegretto 302 298 300 anonymous. Leaps Within the Subdominant. Minor Keys 87 . Osanna (bass solo. folk song IV-4. trio from Brandenburg concerto # 1 (Russia) 299 301 W. Vivo Llorando la Suerte (Mexico) J. allegro) from Sanctus. Que No Te Amo (Mexico) 302 anonymous.A. Mozart. Requiem anonymous.

8 Allegretto 303 9 2 4 Lightly 304 9 3 4 17 303 anonymous. folk song (Russia) 304 anonymous. Entre Vous Tous Gens de la Ville (France) 88 Chapter IV. Other Diatonic Materials .

but at a pitch one step higher. and probably could not have performed such a trick themselves. however. Although it is possible to memorize the sounds of the minor and major seventh leaps and sing them on demand. Leaps of a Seventh 89 . A factor in the sight-singer’s favor is that the most difficult leaps to sing are usually the ones that are ugly as well.IV-5 Leaps of a Seventh With leaps of a seventh. If the leap of a seventh is upward. most leaps of a seventh occur in certain special contexts that make them both easier to sing and more acceptable to the ear. as with any very broad leap. find the lowest key in which you can comfortably sing the lowest note of the melody. Hess. Lively * 306 6 8 307 5 * 305 W. that’s a fundamentally unnatural way to think about melody. we’ll see that there are better solutions arising naturally from the logic of the melodic line. * 3 4 305 The next two examples are not much harder. because the leap begins a repetition. Make sure to sing each example in an appropriate key. Another technique for use when all else fails is to imagine the seventh as a downward step. there is repetition. menuet from string quartet # 8 306 C. in real music. Mozart. In all the following examples. Little Charley Went a Fishing 307 folk song IV-5.A. and therefore composers don’t write them. the most common problem is simply the inability to reach the note. keep in mind that most of the examples in this section are folk songs created by people who were illiterate. The first example is easy. with the second note moved up an octave.

Other Diatonic Materials .’ 3 3 3 308 8 4 8 * 15 The next example has a leap of a seventh as part of a dominant seventh chord. the leap upward from ‘ti’ to ‘la’ is heard as the inversion of the earlier step down from ‘ti’ to ‘la. like the preceding one. Gwine Follow 90 Chapter IV. menuet from string quartet # 1 310 anonymous. and because. The leap is also made easier because we’ve just sung ‘fa’ in the low register. Carmela (Mexico) (South Carolina) 309 W.’ and this ‘fa-mi’ relationship is one of the most prominent landmarks of the key. It resolves downward to ‘mi. uses the familiar ‘so-fa-mi’ pattern. we anticipate the descending scale ‘fa-mi-re-do. Mozart. so you may find that the easiest way to hit the ‘fa’ is simply by locating ‘fa-mi. looking ahead.’ * 3 4 309 This tune.A.’ 310 6 2 4 * 308 anonymous.In the next tune.

Long. Cradle Song 312 T. Bayly. 311 7 3 4 * 312 6 * 11 313 7 311 Felix Mendelssohn. aria ‘If with all your hearts ye truly seek me’ from Elijah anonymous.H. Leaps of a Seventh 91 .11 Another ‘so-fa-mi’ example. The ‘fa’ is heard as part of a logical progression of prominent high points in the line. Long Ago 313 IV-5.

Walk. Shepherdess.314 8 3 4 * 15 315 3 3 3 3 3 3 316 3 3 2 4 Moderato 317 3 4 * 318 7 6 8 314 anonymous. folk song (Russia) 318 anonymous. Reir Es Necesario (Mexico) 317 anonymous. Widdecombe Fair (England) 315 anonymous. Other Diatonic Materials . Walk (Arkansas) 316 anonymous. A Quinze Ans (France) 92 Chapter IV.

menuet from string quartet # 8 Upidee 320 W.A. Leaps of a Seventh 93 .319 * 3 4 320 2 4 321 5 319 W. IV-5. Mozart. Mozart. presto from string quartet # 7 321 anonymous.A.

IV-6 Other Perfect Fourths and Fifths We’ve already sung leaps of a fourth and a fifth within the tonic. we really have the easy ‘so-mi’ leap. dominant. opening from string quartet # 4 323 folk song 324 anonymous. For instance. Although other leaps of a fourth or a fifth may imply other triads. and those leaps strongly implied their chords. In the first example. The ‘la’ is easily sung by thinking of it in relation to the ‘do’ it leads up to. the leap from ‘la’ to ‘re’ is heard as an imitation of the preceding ‘so-do’ leap. and subdominant chords. but with ‘la’ interposed. * 322 In this example. Mozart. it’s difficult to hear the ‘so-re’ leap without perceiving a dominant chord. in real music they are more commonly produced not by the harmony but by the logic of the melody itself. 323 9 2 4 * 18 Here. * 3 4 324 8 322 W. Other Diatonic Materials .A. the composer simply wants to repeat a molodic idea at a different pitch. La Rana (Mexico) 94 Chapter IV.

Harris.M. von Weber. Other Perfect Fourths and Fifths 95 .14 2 4 famous tune (identified in the table of contents) 325 6 12 326 9 2 4 Tempo di valse 327 11 3 4 326 C. After the Ball IV-6. Softly Now the Light of Day 327 Charles K.

Sing Hey to You. Good-Day to You! Foster. Sullivan.S. Slumber My Darling 331 S. Take a Pair of Sparkling Eyes 329 A. Foster.C.S.23 328 6 8 329 2 4 330 5 6 8 Andante 331 6 11 328 A. Sullivan. Other Diatonic Materials . Gentle Annie 330 Stephen 96 Chapter IV.

A. Scheherezade (theme from third movement) Beethoven. trio from string quartet # 1 336 Franz Abt. Were You Ever in Rio Grand 333 Nikolai Rimsky-Korsakov. Other Perfect Fourths and Fifths 97 . opening movement from string quartet # 1 335 W.332 8 6 8 333 4 6 8 334 3 4 335 3 4 336 9 3 4 332 334 anonymous. Kathleen Aroon IV-6. Mozart.

98 Chapter IV. Other Diatonic Materials .. Love’s Young Dream 339 Attributed to Guiseppe Giordiano. folk song (Germany) Caro Mio Ben 338 Thomas Moore.Moderato 337 5 10 14 Moderato con espressione 338 7 6 8 14 339 337 anonymous.

Other Perfect Fourths and Fifths 99 .S. Juanita 342 H.5 3 3 340 8 2 4 3 3 3 3 3 3 Andante 341 3 4 7 13 3 19 3 Andante 342 340 anonymous. Lilly Dale IV-6. R´mon (Louisiana) e 341 anonymous. Thompson.

Other Diatonic Materials . menuet II from cello suite # 2 346 Johannes 100 Chapter IV. aria from Stabat Mater Brahms.S. 1st symphony 345 J.6 12 343 2 4 344 6 12 345 3 4 346 344 Giovanni Battista Pergolesi. Bach. introduction.

Other Perfect Fourths and Fifths 101 . Sagt Mir. Chant de Sion 349 anonymous. processional march song (Germany) Sch¨nste Sch¨f ’rin Mein o a 348 Darius Milhaud.7 12 Alla marcia 347 6 11 Moderato 348 6 Zaertlich und lebhaft 349 6 8 347 anonymous. O IV-6.

Gunhilde Diese Zeit’ 351 anonymous.7 In ruhigem Zeitmass und teilnehmend erzaehlt 350 6 2 4 11 Mit guter Laune 351 8 3 4 352 6 350 anonymous. Ach. ‘W¨r’ Gott Nicht Mit Uns a 102 Chapter IV. Other Diatonic Materials . Chorale. Englische Schaeferin 352 J. Bach.S.

allegro from string quartet # 6 IV-6. Handel.F. Angels Ever Bright and Fair 354 Beethoven. Other Perfect Fourths and Fifths 103 .Larghetto 353 5 9 Allegro 354 3 4 353 G.

Other Diatonic Materials . Invention 2 358 W. Mozart. andante un poco allegretto from string 104 Chapter IV.IV-7 The Diminished Seventh Chord.A.S. and the Harmonic Minor Scale 355 356 6 11 357 3 358 4 356 anonymous. O Daniel (Florida) quartet # 5 357 J. Bach.

Raisins with Almonds IV-7. and the Harmonic Minor Scale 105 . The Diminished Seventh Chord.359 8 Lullabye 3 4 16 359 Abraham Goldfaden.

Other Diatonic Materials .106 Chapter IV.

Chapter V Nondiatonic Materials V-1 Secondary Dominants and Chromatic Passing Tones 360 6 12 361 3 4 362 3 3 3 3 7 360 Martin Luther. A Mighty Fortress Is Our God Carpet Again? 361 anonymous. Kevin Barry (Ireland) 362 Who Got Dirt on the .

Come. Ye Disconsolate 364 Shoals. Nondiatonic Materials . Valedictory 365 anonymous. His Mercy Brightens (France) 366 Samuel Webbe.363 9 3 4 364 6 11 Allegro moderato 365 8 2 4 366 363 Ithamar Conkey. Autrefois le Rat de Ville 108 Chapter V. God is Love.

Butterfield. When You and I Were Young V-1.A. Angel of Peace 368 J.9 Maestoso 367 7 13 19 26 368 5 367 M. Keller. Secondary Dominants and Chromatic Passing Tones 109 .

9

13

369
12

3 8

370
11

3 8

371
6

2 4

369

I.B. Woodbury, Speed Away! Speed Away! Saints Come In (Virginia)

370

W.A. Mozart, aria from the Magic Flute

371

anonymous, Let God’s

110

Chapter V. Nondiatonic Materials

372
9

2 4

373
6

3 4

Allegro

374

3 8

375
6

2 4

13

372

anonymous, Vivo Penando (California) 373 anonymous, Allan Maclean (Scotland) Sempre Addita 375 anonymous, Dans le Port, Il Est Arriv´ (France) e

374

Alessandro Stradella, Ragion

V-1. Secondary Dominants and Chromatic Passing Tones

111

376
5

3 4

377
8

3 4

16

24

378
4

376

George F. Root, Brother, Tell Me of the Battle Coat of Blue

377

George Cooper, Beautiful Bells

378

J.H. McNaughton, The Faded

112

Chapter V. Nondiatonic Materials

Crep´sculo (Mexico) u V-1. Secondary Dominants and Chromatic Passing Tones 113 . menuet from string quartet # 1 380 Franz Joseph Haydn.A. #3 (‘Emperor’) 381 anonymous. Mozart.379 10 3 4 19 380 6 11 16 Moderato 381 2 4 379 W. Op. 73. adagio poco cantabile from string quartet.

tune from Stabat Mater 114 Chapter V. Media Noche (California) 383 Giovanni Battista Pergolesi.9 17 25 Slowly 382 2 4 8 383 6 10 382 anonymous. Nondiatonic Materials .

The Cruel Mother (England) e Out of Work 387 Scott Joplin. Secondary Dominants and Chromatic Passing Tones 115 . The Easy Winners 386 Alice Hawthorne. V-1. Bach.S. Bourr´e II from orchestral suite #2 385 anonymous.384 9 385 6 3 4 Moderato 386 Not fast 387 7 2 4 384 J.

S. Bach. In My Merry Oldsmobile orchestral suite #1 389 anonymous. Menuet I from 116 Chapter V. Nondiatonic Materials .12 Tempo di valse 388 3 4 9 17 26 389 8 3 4 390 3 4 388 Gus Edwards. Fein’s M¨dchen a 390 J. Erlaube Mir.

Secondary Dominants and Chromatic Passing Tones 117 .F. chorus from ‘Judas Maccabaeus’ 392 Frances Shackleton. Handel.7 13 19 Maestoso 391 7 13 19 392 391 G. The Orange and the Black V-1.

R. Maid of Athens 118 Chapter V.6 11 393 6 11 394 6 11 393 anonymous. Nondiatonic Materials . Adelphi School Song 394 H. Allen.

Menuet. K.A. the flattened third scale degree occurs in the vii o 7 of V chord. Mozart. Secondary Dominants and Chromatic Passing Tones 119 .Moderato 395 8 3 4 In the following two melodies. 487 397 Franz V-1. from 12 Duets. Alice. 396 8 3 4 16 23 Fine 32 Da capo 397 395 Joseph Ascher. 2. Above the Mountains 396 W.V. Where Art Thou? Schubert. Duet No.

Duet from The Magic Flute 120 Chapter V.5 8 Andantino 6 8 398 6 8 6 11 398 W.A. Mozart. Nondiatonic Materials .

Roll. Jordan. Blue Notes 121 . The Graveyard (South Carolina) 400 anonymous.V-2 Blue Notes 399 6 2 4 400 2 4 3 3 401 8 3 4 3 3 3 Moderately. Goodnight Angeline 401 anonymous. not too fast 402 7 399 anonymous. V-2. Roll (United States) Cyclone at Ryecove (Missouri) 402 James Reese Europe.

O Lord (Unites States) 122 Chapter V.14 20 25 30 Moderato 403 7 12 18 403 anonymous. Nondiatonic Materials . ’Tis Me.

Chorale. Vater. ‘Befiehl du deine Wege’ 408 J.S. Cradle Song (Sweden) Chorale. Schwesterlein 405 anonymous. Relative Minor and Major 123 . andante con espressione 406 10 2 4 407 6 408 404 anonymous. Sohn’ 407 J. Bach.S. Bach. V-3. ‘Das Walt’ Mein Gott.V-3 Relative Minor and Major Nicht zu langsam und mit inniger Teilnahme 404 7 3 4 In ruhiger Bewegung 405 6 8 Lullabye. Es Ritt ein Ritter 406 anonymous.

Kathleen Mavourneen 410 J.S. Nicholls 124 Chapter V.6 Heimlich und zierlich bewegt 409 9 2 4 410 7 Andante e penseroso 411 8 3 4 16 409 anonymous. Bach. ‘Gib Dich Zufrieden und Sei Stille’ 411 F. Chorale. Nondiatonic Materials . Feinsliebchen. Du Sollst Crouch.

Relative Minor and Major 125 .25 33 V-3.

126 Chapter V. Nondiatonic Materials .

Chapter VI

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

412

413

3 4

414

3 4

415

3 4

416
414

6 8

anonymous, The Ash Grove (Wales)

415

Franz Joseph Haydn, menuet Oxford symphony

416

folk song

7

Mit kraeftiger Leidenschaft

417
7

6 8

418
5

6 8

9

419
8

3 4

417

anonymous, Wach’ Auf, Mein Hort from The Planets

418

anonymous, La Paloma Blanca (Arizona)

419

Gustav Holst, Venus theme

128

Chapter VI. The C Clef

420
8

6 8

421

422

2 4

423
The following three examples are in the minor mode.

424

2 4

Largo

425

420

folk song 421 Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater 422 W.A. Mozart, aria (Papageno) from ‘The Magic Flute’ 423 Franz Joseph Haydn, finale, London symphony 424 anonymous, Every Hour in the Day (Georgia) 425 anonymous, lullabye (Russia)

129

Du Sollst 427 F.Heimlich und zierlich bewegt 426 9 2 4 Andante e penseroso 427 3 4 8 15 23 31 426 anonymous. Feinsliebchen. The C Clef . Kathleen Mavourneen 130 Chapter VI. Nicholls Crouch.

no. 213 dddsllls — p. 413 p. 90. 20. 33. 119. 27. 310 dddmssll — p. no. no. 75. 29. 268 ddmsltdt — p. 55. 40. 26. 88 drdtdsdr — p. no. 29. 125 ddmssfmr — p. no. 102. no. 191 ddsdrmfs — p. 37. no. no. no.Thematic Index ddddrdtd — p. 75. 170 drdrmfss — p. no. no. 334 drdtlsls — p. 71. no. 29. no. 304 ddssddll — p. 78. no. no. 312 ddrmfsss — p. 187 drmrdtdr — p. 243 127. 23. 58. 78 dddrrrmd — p. 100. 93. no. 397 ddddmdss — p. no. 165 ddrmmrdf — p. no. 106 ddmsslls — p. no. no. 249 ddmrdrrm — p. 412 131 . 36 drdrdrmr — p. 107. 19. no. 39. 63. no. no. no. p. no. 129. no. 59. 28. 320 ddddmsff — p. 73. no. 19. 59. no. no. p. 73. 88. 424 73. 51. no. 55 ddtlsdrm — p. no. 352 ddtltlls — p. 344 ddrmrmfm — p. no. 30. 71 ddrmrrmr — p. no. no. 74 ddmmrmdd — p. no. no. 31. 245 dddsmmrd — p. no. 45. no. 25. 49 ddtltdrm — p. dddmdsmm — p. no. 113. 360 ddrdmfss — p. no. no. no. 150 drmdrmrm — p. 86 ddrrmmrd — p. 64 ddmmmdts — p. no. no. 121 ddrmfssl — p. 31 drmrfmrt — p. 52 drddtdrm — p. 25. 97. 41. no. 91. 19. no. 33. 254 ddrmmmfs — p. 380 127. 55. 40. 47. 175 drmrmfmf — p. no. 193. 139 dddrrmmf — p. drmrmfsf — p. dddmmssm — p. no. no. 57 ddrmmfsl — p. 256 ddtdrdrm — p. 237 dddsltdt — p. 117 ddddslsd — p. 120. 19. ddtltddt — p. p. 79 ddrmrdrr — p. 32 drmdddrm — p. no.

340 dmsmslsf — p. no. no. 61. no. no. no. no. 129 drmfsssf — p. 46 drmfmfsl — p. 49. no. no. no. no. 56. 425 dmrtdmrt — p. no. 34. 105. no. 390 dmdtdrmm — p. 27 drssmddf — p. no. 355 drmfssfm — p. 44 drmfsmfs — p. 22. no. 35. 55. no. 62. 205 drmmmrfm — p. 116. 64. no. no. 177. 107. 76 drmmmsrr — p. 58. no. no. no. 92 dmsdlsdd — p. p. 56. 62. no. no. 161 dmsmrflf — p. no. 28. 73. no. 218 dmsmfrfr — p. 69. no. 22. 322 drmmmmsm — p. 223 dmrdssms — p. 30. 48. 179 drmfsltd — p. 50. 41. 82. 244 drmfrmdm — p. no. 72. 162 drmfsfmr — p. 47 drmfslsf — p. 59. 286 dmmmrfff — p. 72. 180 drmfsfsl — p. 129. no. 32. 104. 65. 45 drmmfsds — p. 27. 209 drmfslsl — p. no. no. 185 dmsfslsf — p. 95 dmrsdmrs — p. 359 132 Chapter VI. 21. 171 drmfslss — p. 50. 60 dmdsdmsd — p. 60. 62. 206. 94. no. 99. 33 drmfssls — p. 242 dmssdtls — p. 68 dmsssmfs — p. no. 152 drmmfmfs — p. 63. 160 dmsdmssm — p. no. no. no. 188 dmdmsffm — p. no. no. 20. 195 dmrdmfst — p. no. no. no. 104. no. 60. 28. p. 198 dmsrdrmm — p. 270 dmfssrss — p. 70 dmdmssmm — p. no. 59 dmdslfmf — p. 27. no. no. no. 56. 197 drmmflss — p. no. 362 dmssdtrr — p. 215 drmfmrmf — p. no. no. 282 dmddmssl — p. 230 dmmflssm — p. 82 dmssssfm — p. 21.drmrsdrs — p. 19. no. no. 20. no. 79. 84. 241 dmsdtdrm — p. 37 drmfmmrr — p. The C Clef . 358 dmsmmddt — p.

239 dmssltds — p. no. 339 rddrmrdr — p. 45. 98. 100. no. 357 dtdtdrmr — p. 101 dtddddrm — p. 104 dssltddm — p. p. no. no. no. 50. 129. 40. 246 dtlslsfm — p. 85. 222 133 . 278 dsssslls — p. 32. no. 27. 172 rmfsdmrd — p. no. no. 62. 421 dsmrdlsf — p. 173 dtdrmsfm — p. no. 81. 34. 345 mdmrdtrs — p. no. no. no. no. no. no. no. no. no. 20. no. 299 dtlsfmrd — p. 104. no. 59. 58. no. no. 199 dsslsfmd — p. 406 dssdlllt — p. p. 80 dssfrdtl — p. no. 190 dsmrdrmf — p. 38. no. 37. no. 305. 28. no. 55. 37. 295 dsmrdrmd — p. no. 108. 24. no. 74. 204 dsmdrmrt — p. 87. 61. no. no. 61. 71. no. 111. no. 374 dsltdmfs — p. 90 dmsslfsd — p. 121. no. no. 319 dssfsfmr — p. no. 65. no. no. 55. 77. 291 dsltdrms — p. 93. no. 98. no. 123. 51. p. 153 rsdsdddd — p. 115. no. no. 183 dsmdslst — p. 50 dtdrrdrm — p. 89. no. 80. 51 dtdrmfsl — p. 402 dsmdslsm — p.dmssslss — p. 42. 36. no. 56. no. 337 dmslsddr — p. 176 dtlsfmms — p. 134 dsfmddsf — p. 365 dsmsmdrm — p. 86. 141 dtdrmrdt — p. 164 mdrmfsss — p. no. 34. 86. 23. 253. 109 dmslsmss — p. 39. 294 dsmrmfmr — p. no. no. 189 dsdsdsdm — p. 102 dsdtdsmr — p. 262 mdrmfsfm — p. 168 dsslsmrd — p. no. 122 dslsfmrd — p. no. 73. 182 dtdrdtdt — p. 58. 48. 34. no. 203 dsfmsmrd — p. no. 384 dtdrmslt — p. 114 dsdrmfsf — p. 273 dssmdsms — p. 91 dtfmdsls — p. 59. p. 65. 62 dssdddfl — p. no.

32. no. 158. 54 mfmmrdtd — p. 99 mrdsdrmm — p. no. 55. 331 mrddrdtd — p. no. no. 78. no. 174 mfsmdttd — p. no. no. 166 mfssltdt — p. 240 mrdmssms — p. 87. 40. 41. 30 mmslslsl — p. 269 mrdrmrdm — p. 96. 39. 403 mmmrdrmr — p. no. 99. no. 411. 361 mfsssfsl — p. 212 mrdrddms — p. 41. 112. 91. 29. no. 336 mrdslstr — p. no. no. no. no. 422 mrddmmsr — p. 415 mfsmmrdl — p. no. no. 69. 300 mfmrdmfs — p. 387 mfrdrmfs — p. 76. 200 mdmfmrdl — p. 19. no. 97. 128. no. 35. 232 mfsmrtds — p. no. 330 mrdrsmdr — p. 332 mmmfmmrr — p. p. no. 377 mrfmlsmr — p. 127. no. 71. no. The C Clef . 284 mrdsfmdt — p. no. no. 382 134 Chapter VI. p. p. 28. 418 mrdtdrmr — p. 96. 41. 78. 122. no. 21. 45. no. 427 mrdsfmfm — p. no. no. no. no. 25. 34. 83 mmrdtdrd — p. 326 mmdrsmdm — p. 46. 140 mmfssfmr — p. 45. 59. 342 mfsmfsmr — p. 126 mfsssssl — p. no. p. no. no. 123 mmrmstls — p. 208 mrmfmrsf — p. 130. no. 408 mmmrdddd — p. no. 25. 313 mrmdmfss — p. 115. 62. 61. 259 mfssfmrr — p. 293 mrdddttl — p. 66 mrmsdrrl — p. no. no. no. 107. no. no. 49. 51. 95. 129. 194 mrdslslf — p. no. 114. 86. 128. no. 146 mrmfssmr — p. 267 mfrmdlsf — p. no. no. no. 82. no. 97. 111. 373 mfsssssm — p. 43 mrrdsmmr — p. 63. no. 123. no. 127 mrdmrddl — p. 81 mrdslsfm — p. 72 mrddrdrm — p. 32. no. 56 mfssfsls — p. 124.mdmrsmrd — p. 113. 94 mrmfmrds — p. 144 mmrddrrm — p. no. no. no.

71. 30. 40. no. 74. 67 sdrmmfmd — p. 61. no. 58 sddrmfsl — p. 63. 127. no. 302 sddddtss — p. 167 sdrmfsdr — p. no. 323 sddmdtls — p. no. 145. 39. 61 sdmrfmrd — p. 348 sdmmmmrm — p. 65. 233 sdmdmdmr — p. 308 sdrmmffs — p. 367 sdrsdrmr — p. no. 84 sdddslss — p. no. 101. 251 sdddtdrs — p. no. no. 216 sdrmfrdt — p. no. 271 msmsslfl — p. 90. 116. no. no. 87. 123. no. 405 fslsfmfs — p. 236 msmlmsml — p. 121. 105 sdmrmrdm — p. 288 msmdrmsm — p. 315 msmfmrdm — p. 46. 109. 163. 78. no. no. 101. 84. 69. no. 234 ffdddtdr — p. no. 44. 103. 400 sddddtdr — p. 136 sdddlssd — p. 71. 94. no. 115 sdrmdsrd — p. p. 104. 95. 356 sdddmddm — p. 275 msrsmdtd — p. 281 sdddddrr — p. 102. 238 sdrmrdrm — p. 389 135 . 121. 108. 33. 50. no. no. 86. no. 420 sddtlslr — p. no. no. no. 37. no. 75 msmrdsfm — p. no. 416 sddddrrr — p. no. 84. 124 mtrddrmr — p. no. 351 sddrtddm — p. no. 69. 154 sddddmrd — p. no. no. 333 mfslsffs — p. 51. p. no. 70. 201 sdrmdmmr — p. 97. 349 sdmdtlsd — p. 92. 92. 347 sddmmssm — p. no. 296 sdrdsdrm — p. no. 81. no. 80. 101. no. no. 252 msssffmm — p. no. 28. no. no. 48. no. no. 314 sddmrdls — p. no. 28. 353 sddtlslf — p. 265 sdmmfmrr — p. 287 sdrmsssl — p. no. 363 sdmrdrms — p. 327 msfmslsm — p. no. no. 27. no. no. 129. 399 msmffflf — p.mfslsmrd — p. no. p. no. 74. 26. no. 79. 225 sdrmfmfs — p.

383 sdtltdtl — p. 108. 96. 27. p. 66. 46. no. 263 smrdtlds — p. 80. no. 21. no. 70. no. no. p.sdmsdmsd — p. no. 73. 117. 84. no. 276. 364 smmddtrm — p. no. p. 404 sdmsrmld — p. 35. 129. 100. 44. 127. 91. 341 sfmmmmfm — p. no. The C Clef . 131. 335 sdmsfmdd — p. no. 258 smrdsmrd — p. 39 sfmmrdrd — p. no. 47. no. 118. 137 sdtlslsf — p. 99. 67. no. no. no. 227 smslssmd — p. no. no. 417 sdsdrmrr — p. 42. 407 sdtlssls — p. 35. 64. 321 smrdttdl — p. 123. 103 smfsddtt — p. no. 307 smmmmfmr — p. 147 sfrfmdss — p. no. 42. 133 smdlssfs — p. no. 111 smfrrrmf — p. 76. 45. no. 221 smrmfmrl — p. 47. 186 smfslsfm — p. 36. 58. no. no. 224. no. 98. 338 sfmrrdtl — p. no. 410 smsmrdmr — p. 257 sfmmsdsm — p. 350 smmrrmmd — p. no. p. 124. 34. no. p. 73 smfsdrmf — p. 128. no. 95. 423 sfmdrldl — p. 157 136 Chapter VI. 98. 143 sdtdrmfs — p. no. 37. 103. no. 378 smmfrrdr — p. no. 346 sdtlsfsr — p. no. 329 srmtdrrs — p. no. 229 smmrsdtd — p. 325 sdtdlsdr — p. 29. 69. no. p. 123. 49. no. 231 sdtdrlrd — p. 97. 354 sfmmrrmf — p. no. no. 151. no. 89. p. 77. 63 smmmmrrr — p. no. 35. 114. 366 smrdrmfr — p. 148. 73. 65. no. 93. 247. no. 96. 264 smdsslsd — p. no. no. no. no. no. 419 smrmdsss — p. 93. 414 sdmssdms — p. no. 393 smmmrddd — p. p. 289 smrmrtdd — p. no. no. no. 77. 311 smrrdmrs — p. 102. no. p. no. 76. no. 235 smdrssdd — p. 97 smsfmrsf — p. 38. no. no. no. 391 smfslsmd — p. 128. 108. 112. no. 100 smrdslff — p. 248 smmrrddt — p.

116 ssssdsss — p. 40. no. 120. 130 ssmdsfrm — p. 142 sssmfsls — p. no. no. 34. 297 ssssssms — p. 89 ssmmssrr — p. 44. 370. 92. 376 ssdddtdr — p. no. no. 279 sfmfsltd — p. no. 38. 135 ssfmmrdr — p. 118. 42. 89. no. 33. 309. 83. p. no. 92. 62. 274 sfmsmrrd — p. no. 292 ssdmmfsm — p. no. 87. no. 386 ssdtrddt — p. no. no. 112. 301 ssdmrdtl — p. 81. no. 115. no. 81. 260 sssddmms — p. no. 318 sssdmsss — p. 317 ssdtfmsm — p. 130. 211 sflsrmrm — p. no. no. 47. 261 ssmrdtdr — p. p. 113. no. no. 277 sssffmmm — p. 207 sssmrmdr — p. 74. 375 ssddsldr — p. no. no. 395 ssdrmmmm — p. 38. 306 ssmrdrdd — p. 21. 53 sfmfsldt — p. 62. p. 25. 394 sflsftrd — p. 110. 379 sfslsfss — p. p. no. 39. 138 ssmmmddt — p. no. 280 ssddtddr — p. 118. 49. 116. 156 ssdtdrdt — p. no. no. no. 392 sfmsmsmf — p. p. no. no. 112 ssdssmmr — p. 368 ssmrdssf — p. 86. 85. 124. no. no. 255 137 . 113. no. 44. 41 sfmfsdrd — p. no. 219 ssmddtll — p. no. 77. no. no. 63. 398 ssmmssdd — p. no. 117. 61. 381 ssdmrdrm — p. no. no. 108 ssdsmmsm — p. no. 119 ssdrdtlt — p. 159 ssmdddrm — p. 149 ssddmrtd — p. 79. 409. p. 85. 90. 272 ssddrmrd — p. no. 202 ssmrddtd — p. no. no. 41. 119. 45. 39. no. no. no. 111. 49. 76. 80. no. 250 ssddssmm — p. no. 80. 388 sfmsfmrd — p. 290 ssdddttd — p. 109. 426 ssdrdtdr — p. 64. no. 64. no.sfmfmmfs — p. no. p. no. no. 220 ssmmmddd — p. 85. no. 210. 285 ssdmsfmf — p. 132. 75. no.

121. no. 23. 110. no. 63. 87 ssltdtdt — p. no. 66. no. 48. 372 sltdtddd — p. no. 42 slssddrm — p. no. no. 110. 316 sltdrmrm — p. 303 stlsmfsd — p. 59. 226 sslsffmm — p.ssssssss — p. no. no. 37. 40 sltdrmfs — p. 298 slsffmmr — p. 401 sssslssd — p. 100. 266 sslsmsss — p. 20. no. 110 slsmrddt — p. 21. no. 35 ssltdttt — p. 60. 20. 30. 385 lmsltddt — p. no. 56. 107 slslsdtd — p. 64. no. 38 ssltdtdr — p. no. no. 371 sslsfmrd — p. 115. 228 slslsssd — p. no. 33. no. 87. 178 sslddsfm — p. no. 111. 217 ssltddtl — p. 21. no. no. 343 sslsfmmf — p. no. 169 138 Chapter VI. 65. no. 38. 56. 48 strsfmfs — p. no. 52. 77. no. 214 ssslsssf — p. 192 sstrddrd — p. no. 96. no. 88. no. 196 tdmddrfr — p. The C Clef . 181 sltdmmrd — p. no. 369 sssslsmm — p. no. 58. no. no. p. 328 lsslssls — p. 78. 92. 155 slsmdsls — p. 184 sslsfmrl — p.

29 Arlequin Marie Sa Fille. Handel. Maid of Athens. 73 e Aura Lee. 108 Aux Marches du Palais. J. nach deiner Gut’. wie du willst. 38 Alice. Giulio Carcini. Harris.A. Mia Bella. 64 Amarilli. 45 Barbara Allan. ‘Herr. ‘Es steh’n vor Gottes Throne’. Katharine Lee Bates. 65 Chorale. 100 minuet. 116 menuet II from cello suite # 2. ‘Nun ruhen alle Walder’. 25 Chorale. Joseph Alice. ‘Liebster Jesu. ‘W¨r’ Gott Nicht Mit Uns Diese a Zeit’. Bonne Hˆtesse. . G. Font. Font. 97 Ach. 109 Angels Ever Bright and Fair. Vater. 40 u Gavotte II from cello suite # 5. 29 Chorale. 118 Alouette (rhythm only). 37 Above the Mountains. 38 a Ah. 104 Angel de Mis Amores. 119 Allan Maclean. 41 Chorale. 34 Ascher. ‘O Traurigkeit. 15 Bach. 62 Menuet I from orchestral suite #1. 20. 47 . Gottes Lamm’. #3. Ch`re. o o 51 Chorale. 115 e Chorale. 63 Chorale. Matthew’s Passion. ‘Wie bist du Seele in mir so gar betr¨bt’. O Lord. Suzette. 124 Chorale. 71 Arlequin Tient Sa Boutique. Where Art Thou?. W. George Poulton. Mozart. Joseph Ascher.R.’ from St. 123 Chorale. 44 andante un poco allegretto from string quartet # 5. 45 As-Tu Vu la Casquette?. meiner Seelen Wonne’. ‘Es spricht der Unweisen Mund wohl’. 119 Ash Grove. Jesu. 40 Chorale. H. ‘Mach’s mit mir. 70 America the Beautiful. ‘Befiehl du deine Wege’.A. ‘Jesu. Gott. 65 Chorale. 59 Chorale. Mozart. Op. 103 Annie Laurie. ‘Wenn wir in h¨chsten N¨ten sein’. 40 Chorale. ‘O Haupt voll Blut und Wunden. 113 Adelphi School Song. 122 ¨ Annchen von Tharau. M. so schick’s mit mir’. 64 Angel of Peace. wir sind hier’. ‘Gib Dich Zufrieden und Sei Stille’. 118 Adieu. 104 melody from the notebook for Anna Magdalena. 56 Invention 2. 81 Away in a Manger (rhythm only).F. Sohn’. ‘Das Walt’ Mein Gott. 119 Absent Davie. Keller. 102 adagio poco cantabile from string quartet. 50 Chorale. Englische Schaeferin. Where Art Thou?. 35 Abt. 37 Allen. 127 Au Jardin de Mon P`re. 102 Chorale. ‘Seelenbr¨utigam.S. ‘Nun sich der Tag geendet hat’. ‘Herr. Bourr´e II from orchestral suite #2. 87 Ballade de Roland. 49 e Ainsi Font. W. 15 Am Feierabend. Franz Schubert. 111 allegro from Eine kleine Nachtmusik.Index ’Tis Me. ‘Von Gott will ich nicht lassen’. The. a 25 Chorale. 73. ‘Es ist gewisslich an der Zeit’. 45 trio from Brandenburg concerto # 1. 64 Chorale. 45 Avril. 123 Chorale. 41 Chorale. 60 Chorale. . 95 Ah Mon Beau Chˆteau. Franz Joseph Haydn. 45 Chorale. 73. ‘Valet will ich dir geben’. 95 Autrefois le Rat de Ville. 84 o After the Ball. o Herzeleid’. nun lass in Friede’. Franz Kathleen Aroon. Franz Schubert. 63 gavotte in G minor. Charles K.

Long Ago. 32. 73 Danksagung an den Bach. 86 G. 27. 6/8. 55 A . Bach. The. 73 Carcini. 33 Beethoven Ode to Joy. 101 Chill Ether. 33 e 140 Index . 58 C. 59 G. M. 1st symphony. When You and I Were Young. 79 Cangia. The. 4/4. B. 19 opening movement from string quartet # 1. Ye Disconsolate. 34. 127 c. 25. 109 Calinda. He Leadeth Me. 21 B . 98 carol. 1. The. 61 G . allegro. George Cooper. 20 B . e 115 Bradbury. F. J.Bates. 80. 20 Beautiful Bells. 77 Bonniest Lass in a’ The Land. 27 string quartet # 6. 21 Who Got Dirt on the Carpet Again?.S. 4/4. 42 G. 22. . Guide Me Home. 4/4. a. 29 Cyclone at Ryecove. 104 a. 4/4. 72 Bourr´e II from orchestral suite #2. 25. Pierre Latour. 28.S. 4/4. Tell Me of the Battle. 3/4. T. 4/4. 112 Beautiful Isle of Somewhere. 103 Beggar Girl. J. 19..B. 113 u Crouch. W. The. Latham. Samuel Webbe. H. 44 Bayly. Handel. 3/4. 55. 115 Cutler. 39 Brother. 107 Cruel Mother. Katharine Lee America the Beautiful. Darius Milhaud. 33 Beuttner. Cangia Tue Voglie. 69 Dans la Forˆt Lointaine. 40 Bingo (rhythm only). George Beautiful Bells. 33 F. 124. 55 A. W. 48 g. 121 Da Unten Im Tale. 58. 34 Beckoning the Pigeons. 32. Nikolaus Es kam ein treuer Bote. 3/4. 4/4. 90 Caro Mio Ben. 13 Blue Juniata. 91 Beautiful Angel. His Mercy Brightens. 22. 4/4. 1. 77 Bonnie Wee Window. 20 Caroline. 3/4. 49. 97 opening theme of Symphony #3. Son of God Goes Forth to War. 21 F. 123 Crep´sculo. 58 C. 77 Beckoning the Chickens. 4/4. 26. 6/8. 19. Long. 3/4. 21 E . 79 Brahms. 3/4. Franz Schubert. Froebel.S. 77 Braes O Yarrow. 21. Root. 127 c. Attributed to Guiseppe Giordiano. 112 Cowboy’s Home Sweet Home.H. 2/4. The. 70 Carmela. 130 Crowell. 80 Chant de Sion. George F. 34 g. The. Froebel.H.B. 79 Cradle Song. 9/8.A. Ithamar God is Love. Mia Bella.D. 100 Nachtwache 1. 27 Brother. J. 4/4. 52 C. G. 4/4. 19. 4/4. 91. 117 Come. G. Fasolo. Johannes introduction. 108 Conkey. 65 Broadway Sights. Giulio Amarilli. 1. 36 B . 36 a. 112 Butterfield. 50 chorus from Judas Maccabaeus. The. 108 Cooper. 27 G. Nicholls Kathleen Mavourneen. 3/4. 25 f.F. Sullivan. 9/8. 21 D . 4/4. Fearis.

. 130 finale.B. 102 Guten Abend. W. Gentle Annie. Bach. Ithamar Conkey. Nikolaus Beuttner. dear Lassie. The. 34 Beckoning the Pigeons. 40 Es Ritt ein Ritter. 121 Evening Bells. 119 Duke of Argyle’s Courtship. The. Fein’s M¨dchen. The. 62 Gwine Follow. J. 112 Fairy Boat. Abraham Raisins with Almonds. S. Gr´nadiers. The. The. 85 Froebel Beckoning the Chickens. 77 Feinsliebchen. James Reese Goodnight Angeline.C.O.S. 129 Forget na’. 487. The. 21 En Avant. K. 90 Gypsy Warning. Beautiful Isle of Somewhere.A. Old Man. 88 Erlaube Mir. 39 Duet from The Magic Flute. W. Richard Strauss. 44 Ellor. from 12 Duets. 31 Entre Vous Tous Gens de la Ville. Diadem. 111 e Dans Notre Jardin. 71 Slumber My Darling. 105 Goodnight Angeline. Ellor. 64 e En Revenant d’Auvergne. 33 Pat-a-Cake. Mozart. 121 Graveyard.S. Attributed to Guiseppe Caro Mio Ben.W. Op. 62 Gar Lieblich Hat Sich Gesellet. 85 e Devotion. 47. 96 Song of All Songs. W. 35 Derri`re Chez Moi. J. 30 Entendez-Vous Sur l’Ormeau.Dans le Port. J. Franz Joseph Haydn. Franz Wohlfahrt. 34 Europe. 63 gavotte in G minor. 96 Gi` il Sole dal Gange. Mountains. Moses. S. 123 Etude. 74 O Jordan. 4/4. 73 Fearis. 66 Hanukah O Hanukah. 37. Stephen Hard Times Come Again No More. Mozart. 45. The. Angels Ever Bright and Fair. 75 Every Hour in the Day. 86 Index 141 . 41 Handel. The. 74 Diadem.V. 28 Wolf. 108 God Speed the Right. The. 80 Gavotte II from cello suite # 5. Franz Schubert. 121 Grieg e. The.H.S. 103 chorus from Judas Maccabaeus. 56 Gentle Annie. Harold Samuel. Wrighton. Thomas Moore. 59 Foster. 85 Go ’Way. Gus In My Merry Oldsmobile. 44 Go Down. 59. James Reese Europe. 48 Hallowed Spot. The. 51 Easy Winners. 82 Down in the Valley. 115 Edwards. 67 God is Love. 129 Faded Coat of Blue. Sacred Tide from Esther. Franz Schubert. 69 Gunhilde. 84 Die Sonne Scheint Nicht Mehr. McNaughton. 116 a Es kam ein treuer Bote. 116 Eli Yale. 120 Duet No. J. The. Whither Through the Meadow?. 76 Goldfaden. 124. Scott Joplin. Menuet. J. G. 48 Das Wandern. Il Est Arriv´. S. 98 Gladden. Alessandro Scarlatti. 96 Foster.T. #1. 2. 69 a Giordiano. Du Sollst. 30 Old Folks at Home. His Mercy Brightens. Bach. Foster.A. G. L. 40 a Gaudeamus Igitur. 117 Hush ye pretty warbling quire from Acis and Galatea. 51 Gardez Piti Milatte-l`. J. 81 Halt.C. 38 Gold Band. 51 Fasolo. Cangia Tue Voglie.F. 49 Dearest Spot on Earth. London symphony. Cangia. 84 Emerson.

4/4. Bayly. 89 Lolotte. . 107 Krambambuli. 33 Out of Work. 56 d. 14 Jingle Bells (rhythm only). 16 Juanita. 63 Long. 127 He Leadeth Me. C. Allen.C. 104 Jehovah. 20 B . Op.H. 113 finale. Charles K. Felix Mendelssohn. Handel. C. 78 Invention 2. Johannes Brahms. 62. Alice Home. 91 If Ye Love Me. 128 Home On the Range (rhythm only). Long Ago. . 4/4. Show It. 56 d. 30 Harris. Soll Ich Mit Euch Gehn. Bach. A. J. Gustav Venus theme from The Planets. Little Charley Went a Fishing. A. 124. 33 Huntsman. Franz Joseph adagio poco cantabile from string quartet. 99 Jungfr¨ulein. 23 d. Scott Easy Winners. 4/4. 89 Holst. 15 Home. 27 Latour.J. 42 In My Merry Oldsmobile. 100 introduction.H. 3/2. 20 Lawlan’ Jenny.S. 3/4. 116 introduction. 15 If with all your hearts ye truly seek me from Elijah. 42. 91 Love’s Young Dream. 23 C. 15 Hess. 56 B. Thomas Tallis. Broadway Sights. 1st symphony.R. London symphony. 30 Let God’s Saints Come In. M. #3. 71 Jenny Lind Mania. . 130 Keller. 44 la Claire Fontaine. The. 56 Lightly Row. 109 Kevin Barry. 110 Lewis. 74 Hush. 47 I’m In Trouble. The. 4/4. 38 Lilly Dale. 77 Here We Go Round the Mulberry Bush (rhythm only). After the Ball. 29 M’ha Preso Alla Sua Ragna. 73. Thompson. G. 72 Latham.B. L. 41. . 32 I Ride an Old Paint. Angel of Peace. London symphony.R. W. 129 introduction. 3/4. 47. 129 Luther. Hess. 38 Hush Little Baby (rhythm only). Pierre Beautiful Angel. 27 Lang Johnny More. 78 I’ve Been Working on the Railroad (rhythm only). 99 Little Brown Jug (rhythm only). H. Stephen Foster. Thomas Moore. 118 142 Index .H. The. 55 a. H. John Revive Us Again. 82 Maid of Athens. 98 lullabye. 73 I’m a Pilgrim. 95 Hawthorne. 73 Jimmy Crack Corn (rhythm only). Nicholls Crouch. Franz Abt.S. . 14 Joplin. Martin Mighty Fortress Is Our God. 107 We Come Unto Our Father’s God. 13 Little Charley Went a Fishing. W. T. My Babe. Bradbury. . 3/4. J. Gus Edwards. 75 If Your Foot Is Pretty. Hallelujah. 115 Haydn. Pier Domenico Paradies. 6/8. . F. London symphony. 75 Husband. By and By. W. 48 a Kathleen Aroon. 78 menuet Oxford symphony.Hard Times Come Again No More. 80. 115 The Entertainer (rhythm only). Rousseau. The.F. 20. Franz Joseph Haydn. 74 I Want To Be Ready. 97 Kathleen Mavourneen. 24 C. a. 14 Hush ye pretty warbling quire from Acis and Galatea. By and By. West. Alice Hawthorne.

presto. 63 Old Folks at Home. Beethoven.V. The.I.S. Bach. 13 O Daniel. 71 Old Hundred. menuet. 60 Musieu Bainjo. allegro) from Sanctus. 91 Menuet I from orchestral suite #1. from 12 Duets. J. 116 menuet II from cello suite # 2. 65 n Mighty Fortress Is Our God. John Villikins and His Dinah. Frances Shackleton. 101 minuet. 114 Poor Rosy. 97 opening theme of Symphony #3. 110 Duet from The Magic Flute. 114 melody from the notebook for Anna Magdalena. J. 39 My Father. 45 Moore. S. Mozart. Bach. Beethoven. . W. G. Requiem. How Long?. 117 Osanna (bass solo. opening. W. 129 aria from the Magic Flute. 37. 101 Index 143 . Franz Joseph Haydn. 45 Out of Work.A. Requiem.H. 16 McNaughton. 81 string quartet # 15. P. 34. Los. W. Martin Luther. 487. 49 O Come. 87 Our Baby. 63 string quartet # 2. 112 Media Noche.A. Handel. rondo. 87 string quartet # 1.S. All Ye Faithful (rhythm only). La. Tchaikovsky. 37 Pat-a-Cake. 62 Mendelssohn. 113 string quartet # 1. Faded Coat of Blue. 128 Paradies. Member. 100 menuet Oxford symphony. 82 Parry. 76 opening movement from string quartet # 1. Bach. 41. Felix If with all your hearts ye truly seek me from Elijah. 37 andante un poco allegretto from string quartet # 5.W.march from The Nutcracker (rhythm only). A. Alice Hawthorne. 85 Mozart. 19 Ojos Mexicanos. 40 string quartet # 1. 66 O Little Town of Bethlehem (rhythm only). 73 opening from clarinet quintet. Maude Valerie White. menuet. 98 Mountains. 28. andante. 93 string quartet # 8. menuet. Darius Chant de Sion. 115 Paloma Blanca. Sacred Tide from Esther. 104 O Jordan. 39. 95 Praise. 93 theme from symphony in G minor. 16 Poulton. 104 aria (Papageno) from ‘The Magic Flute’. 120 Duet No. Bach.S. 89. trio. adagio. 119 opening from clarinet quintet. 35 Pop Goes the Weasel (rhythm only).F. 94 string quartet # 4. Richard Strauss. K. allegro) from Sanctus. 28 Pergolesi. 76. 97 string quartet # 10. The. menuet. 65 Not Yet. 61 My Lodging Is On the Cold Ground. 129 tune from Stabat Mater. 28 My Field. Beethoven. Stephen Foster. 127 Mi Sue˜o. 100 Sancta Mater from Stabat Mater. 78 Nachtwache 1. Froebel. . The. 80 string quartet # 4. 49. J. Thomas Evening Bells. allegro from Eine kleine Nachtmusik.S. Pier Domenico M’ha Preso Alla Sua Ragna. Menuet. . 46 processional march song. 84 string quartet # 7. George Aura Lee. 107 Milhaud. 90. 27 Ophelia’s Song. 84 string quartet # 6. 75 Love’s Young Dream. J. Giovanni Battista aria from Stabat Mater. J. 2.A. 76 Osanna (bass solo. Gladden. 14 Ode to Joy. Mozart. presto. Johannes Brahms. 63 Orange and the Black.

Mozart. 28 Sing Hey to You. Cutler. Mozart. Alessandro Gi` il Sole dal Gange. 16 144 Index . La. Mozart. Beethoven.A. J. 41 Schwesterlein. . 39. presto. 123 Serenata. A.A. menuet. W. Blue Juniata. 105 Rana. 15 Roll. allegro. menuet. John Husband. Row Your Boat (rhythm only). 51 Sancta Mater from Stabat Mater. 6/8. menuet. 85 Song of the Free.A.G. 117 Ship That Never Returned. 81 string quartet # 15. 96 Sinner Won’t Die No More. O Sch¨nste Sch¨f’rin Mein. J.S. Good-Day to You. Woodbury. W. 108 Shout On. Sullivan.J. 119 Am Feierabend. Mein Engel. Brother. Alessandro Stradella. W. The. 63 string quartet # 2.A. Mozart. The. Whittier. 113 string quartet # 1. 82 Shoals Valedictory. 64. 93 string quartet # 8. Nikolai Scheherezade. Richard Devotion. 77 Take a Pair of Sparkling Eyes. 92 R´mon.Que No Te Amo. A. 32 Row. The. George F. 28 Red River Valley. Good-Day to You. 80 string quartet # 4. Franz Above the Mountains. Row. 89. W. 111 Rain. 129 Scarlatti. P. Tell Me of the Battle. Harold Fairy Boat. 30 Row. 97 Schubert. Roll. 94 Recouvrance. rondo. andante. 99 e Ragion Sempre Addita. Mozart. 110 Stradella. 96 Softly Now the Light of Day. 96 Sullivan. .D. 78 Rousseau.A. E .I. . Children. 28.S.A. W. 95 Son of God Goes Forth to War. C. 16 Sagt Mir. Rain. Mozart. A.S. 49 string quartet # 1. W.A. 32 Sch¨nster Schatz. Burnie. W. The. Thomas If Ye Love Me. 38 Rimsky-Korsakov. 112 Rosa Lee. 101 o a Samuel. Stephen Foster. 76 Slumber My Darling. opening. 74 Speed Away Speed Away. Abraham Goldfaden. Frances Orange and the Black. menuet. I. 14 Tallis. 32 Sullivan.A. H. 41 Sing Hey to You. 69 Das Wandern. A. 41 Wohin?. Mozart. W. Mozart. Venite a Consiglio. Sullivan. 64 Danksagung an den Bach. The. Go Away (rhythm only). 75 Tchaikovsky. 49 Halt.A.B. 69 a Su. 92 Revive Us Again. W. von Weber. Nikolai Rimsky-Korsakov. 103 string quartet # 6. 94 string quartet # 4. Jordan. 96 Take a Pair of Sparkling Eyes. Giovanni Battista Pergolesi.A. 84 string quartet # 6. Alessandro Ragion Sempre Addita. 42 Shackleton. My Babe. 87 Quinze Ans. 90. Hush. 74 Not Yet. Burgess Weston. Alessandro Scarlatti. The. A. M. 121 Root. 111 Strauss. Mozart. trio. presto. adagio. Mozart. 93 Su. 40 string quartet # 1.M. Venite a Consiglio. Mozart. 39 o Scheherezade.A. Stephen Foster. 78 Reir Es Necesario. 84 string quartet # 7. 97 Rockabye Baby (rhythm only). march from The Nutcracker (rhythm only).S. H. 96 Take Me Out to the Ball Game (rhythm only). W. 13 Raisins with Almonds. 29 Song of All Songs. 97 string quartet # 10. . W. Row.

T. Burgess Row. 86 c. 87 Tristes Horas. 14 We Wish You a Merry Christmas (rhythm only). H. 87 Vivo Penando. 110 Wrighton. Dearest Spot on Earth. Franz Etude. Tchaikovsky. . von Softly Now the Light of Day. 46 Twinkle Twinkle. Las. 3/4. 21 Whittier. 83 Upidee. 61 g. 128 Walk. H. Franz Schubert. 60 This Old Man (rhythm only). W. 59. 111 Wach’ Auf. 107 Widdecombe Fair. Maude Valerie Ophelia’s Song. 60 trepak from The Nutcracker (rhythm only). Samuel Come. c. Ye Disconsolate. 3/4. 80 Wohin?. 15 waltz of the flowers from The Nutcracker (rhythm only). 93 Valedictory. 62. . The. 47. 92 Wild Moor. 63 Whither Through the Meadow?. Emerson. The.A. Gustav Holst. 16 The Itsy-Bitsy Spider (rhythm only). W. 42.G. Speed Away Speed Away. . The. 73 Weston. 14 Thompson. 61. 2/4. Ibi Patria. 62 Woodbury. B. Song of the Free. . Froebel. 4/8.M.trepak from The Nutcracker (rhythm only). 14 Webbe. Scott Joplin. 13 Ubi Bene. . 128 Villikins and His Dinah. 108 Weber. 65 Were You Ever in Rio Grand.O. Jenny Lind Mania. Bach. The. L. 35 Ya Viene El Alba. Burnie. Row. 58.S. 2/4. P. Tchaikovsky. 109 White.S. Shepherdess. 74 Who Got Dirt on the Carpet Again?. 37 Vivo Llorando la Suerte. P.A. 66 g. Crowell. Shoals. Martin Luther. 58. Lilly Dale. Op. 2/4. W. 41 Wohlfahrt.A. Mein Hort. 99 Thou Poor Bird. J.I. 97 West. 29 We Three Kings (rhythm only). 30 When You and I Were Young. 15 We Come Unto Our Father’s God. 62 Tu Eres Mas Bella.C. 15 The Entertainer (rhythm only). 69 Index 145 . 92 waltz of the flowers from The Nutcracker (rhythm only). J. I. #1. 34 Wolf. 16 theme from symphony in G minor. 86 g. J. 86 f. 15 trio from Brandenburg concerto # 1. Walk.B. G. Butterfield. John Parry. 108 Venus theme from The Planets. Mozart.I. 3/4. C. 45. Little Star (rhythm only). 95 Wedge. 62 f.H.

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