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Sight

Sight

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Sections

  • Brief Contents
  • I Rhythm 13
  • II Major Keys 17
  • III Minor Keys 53
  • IV Other Diatonic Materials 69
  • V Nondiatonic Materials 107
  • Contents
  • Chapter I
  • Chapter II
  • Chapter III
  • Chapter IV
  • Chapter V
  • Chapter VI

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
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II-2. Melodies Containing Only Steps 19
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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.
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The following five melodies all begin on ‘so.’
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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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The following two melodies both have the tonic at the same place on the staff.
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Canon for two voices:
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Canon for two voices:
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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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22 Chapter II. Major Keys
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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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51
L.R. Lewis
24 Chapter II. Major Keys
II-3 Leaps to ‘Do’
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Adagio
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II-4 Leaps Back to Remembered Notes
54

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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
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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
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Allegretto
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64
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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
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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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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
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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
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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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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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81
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Allegro
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83

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82
Alessandro Scarlatti, Su, Venite a Consiglio
83
J.J. Rousseau, Hush, My Babe
32 Chapter II. Major Keys
84
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86 , ,
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87
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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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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.’
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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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116

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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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14
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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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138
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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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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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146
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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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149 ,
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150 ,
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11
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151 ,
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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 ,
/
, , .
, .
,
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,
Allegro
,
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7
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153
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154 , ,
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,
Lebhaft, doch zart
,
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155 ,
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Allegretto
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,

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·
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,
,
,
,
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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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·
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Molto mesto

,

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157
4
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Allegretto comodo
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158

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159 ,
8
4 ,
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160
4
3
/
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,
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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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162
4
3 ,
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17
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D.S. al fine
,

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,
Fine
,
8
3
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163
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164 , ,
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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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165 ,
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5
,
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,

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166
4
3
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167
4
2
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Andante
168
4
2 ,
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Anmutig

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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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.

,
,
,
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
/
,
,
,
,
,
,
,

,

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,
,
·
,

,
,
·
,
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
/
, ,

.
, ,
,
,

,
,
,
·
,
,
,
,
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·
,
,
,
,
,
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,
,
·
, ,
,
·
,
,
,
, ,
, ,
,
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 , ,
,
/
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, ,
,
,
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,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
.
,
,
/
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 ,
/ ,
, ,
, ,
.
. , ,
,
,
.
.
,
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, ,
.
. , ,
,
/
7
,
.
.
.
, ,
,
.
, ,
, ,
.
, ,
, ,
.
193
4
2
,
/ ,
,
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,
,
,
,
,
,
,
,
, , , ,
, ,
,
,
,
,
,
, ,
, ,
,
, ,
,
, ,
·
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
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famous tune (identified in the table of contents)
196
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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
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famous tune (identified in the table of contents)
200 , ,
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Andante
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Vivace

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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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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
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Allegro marziale
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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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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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G.A. Wedge
228
G.F. Handel, aria ‘O Jordan, Sacred Tide’ from Esther
66 Chapter III. Minor Keys
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famous tune (identified in the table of contents)
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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Moderato affetuoso
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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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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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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249
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Animato

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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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251
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252
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253
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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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255
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256
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17
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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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258 ,
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259
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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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,

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261
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262
8
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,

Moderato
,

263 ,
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11
,

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264
4
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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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265 ,
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.

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266
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267
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268
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Allegretto
,
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9
,
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269
8
6
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,

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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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270
8
12
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271
8
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272
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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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7
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274
4
3
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275
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276 ,
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277
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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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5
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279
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3
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280
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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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283
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2 ,
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,
Allegretto mosso

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6
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12
,
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17
,
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22

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284 ,
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.

,
.

,
,
,
,
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,
,
,
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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10
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.
,
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,
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,
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285
8
6
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,

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Moderato
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7
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Vivace

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13
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,
285
anonymous, Ubi Bene, Ibi Patria
IV-2. Leaps Within the Subdominant, Major Keys 83
IV-3 Wide Leaps Within the Subdominant
286
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289 , ,
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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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13
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291
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Moderato
292 , ,
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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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296 ,
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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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Lively
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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
4
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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18
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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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326
C.M. von Weber, Softly Now the Light of Day
327
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IV-6. Other Perfect Fourths and Fifths 95
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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
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339
Attributed to Guiseppe Giordiano,,
Caro Mio Ben
98 Chapter IV. Other Diatonic Materials
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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
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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
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362
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363
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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
M. Keller, Angel of Peace
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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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
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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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398
W.A. Mozart, Duet from The Magic Flute
120 Chapter V. Nondiatonic Materials
V-2 Blue Notes
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Moderately, not too fast
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399
anonymous, The Graveyard (South Carolina)
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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In ruhiger Bewegung

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anonymous, Schwesterlein
405
anonymous, Es Ritt ein Ritter
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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411
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Andante e penseroso
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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
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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
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.
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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.

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 .Brief Contents I Rhythm 13 13 14 I-1 Whole. Half. and Quarter Notes I-2 3/4 Time.

Major Keys Wide Leaps Within the Subdominant 84 69 71 Leaps Within the Subdominant. 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. Minor Keys Leaps of a Seventh 89 94 86 Other Perfect Fourths and Fifths The Diminished Seventh Chord.

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

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

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

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

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

3/4 . 94 323 folk song. . 3/4. . . . . 4/4 . Invention 2. 4/4 . . G. . . . . . . 3/8 110 371 Let God’s Saints Come In (Virginia). . . . D. . . . 4/4 . . . . . . .109 368 Butterfield. a. 3/4 .111 375 Dans le Port. aria from Stabat Mater. . . . Slumber My Darling. . . . Scheherezade (theme from third movement).113 380 Haydn. . . . . .114 u 9 . . . . 97 334 Beethoven. . 4/4 . 97 335 Mozart. . . . B . . . . 3/4 . . . . . . . 3/4 . 4/4 . . .111 373 Allan Maclean (Scotland). . 2/4 . 3/8 . . 96 329 Sullivan. G. . adagio poco cantabile from string quartet. . 4/4 . . . . . .107 362 Who Got Dirt on the Carpet Again?. . . . . . G. . Angels Ever Bright and Fair. . . . aria from the Magic Flute. . Lullabye .IV-6 Other Perfect Fourths and Fifths . . . . . .104 356 O Daniel (Florida). . c. . . . 3/4 . . 2/4 . His Mercy Brightens. . . . 99 340 R´mon (Louisiana). Sing Hey to You. . . . .112 378 McNaughton. . Speed Away! Speed Away!. . . . . . . F. B . . . . . B . 6/8 . andante un poco allegretto from string quartet # 5. 97 333 Rimsky-Korsakov.109 367 Keller. .110 369 Woodbury. #3 (‘Emperor’). o a 6/8 .112 377 Cooper. . . 98 338 Moore. . . 4/4. . . . The Faded Coat of Blue. . . . . . . c. Valedictory. . 3/8 . 3/4 . . . . . . . E . . . . . F. . 4/407 1 363 Conkey. . Il Est Arriv´ (France). 4/401 1 348 Milhaud. . . . A. . . . . . .100 346 Brahms. . . 4/4 . A. . 2/4 95 327 Harris.100 345 Bach. . . . . .104 359 Goldfaden. a. . F.102 350 Gunhilde. . . . 4/4 . . 4/4 . A Mighty Fortress Is Our God. . . . C. . . . . . . . .103 IV-7 The Diminished Seventh Chord. 2/4. . . . . . 96 328 Sullivan. . . C. G. . . . . B . . A. . . . . . . .112 379 Mozart. 3/4 . . . Beautiful Bells. . . . . 96 332 Were You Ever in Rio Grand. 4/4 . . . . . . . . . . 2/4 . . . . . . . . . G.105 V Nondiatonic Materials 107 V-1 Secondary Dominants and Chromatic Passing Tones . . C . . . . . 3/4 . D. 96 331 Foster. 73. 95 326 Weber. . . Gentle Annie. . . . . . . Ragion Sempre Addita. . . 4/4 . Angel of Peace. . . A . . . . . . . . . . trio from string quartet # 1. D. . D. . . . . . . . . . . 6/8. Brother. 3/4 97 336 Abt. . . 95 325 Poulton. . .107 361 Kevin Barry (Ireland). opening from string quartet # 4. c/minor . When You and I Were Young. . . . G. . . . .111 374 Stradella.108 364 Shoals. . F. 99 e 341 Juanita. . . 94 324 La Rana (Mexico). . . . . 96 330 Foster.94 322 Mozart. . 3/4 . . . . . 4/4 . . . G. . . . . . . . . . .110 370 Mozart. . . . . . . . . introduction. 2/2 . . E . . . . . . . . C. . . . . . . . 4/4 . . . . . Tell Me of the Battle. . . . 1st symphony. 99 342 Thompson. . . . 3/4. Take a Pair of Sparkling Eyes.. . . . . G. . 6/8. . 2/4 . . . . . . . . . 2/4 110 372 Vivo Penando (California). .108 366 Webbe. . . . . . E . 4/4 . Ye Disconsolate. . Lilly Dale. . 3/4. . D. . . . . . . . Englische Schaeferin. . . . . D. .101 347 processional march song (Germany). . 2/4 . . . . After the Ball. . . . . A. C. . . F. 4/4 . . . 98 339 Giordiano. . . . Kathleen Aroon.102 351 Ach. . . 3/4.113 381 Crep´sculo (Mexico). . 4/4 . Chorale. Raisins with Almonds. . . . F . . . . . . .104 357 Bach. Softly Now the Light of Day. . 3/4 . . 6/8 . . . and the Harmonic Minor Scale . . God is Love. . . . . C. . 97 337 folk song (Germany). G.101 349 Sagt Mir. . . . .100 344 Pergolesi. . . . . opening movement from string quartet # 1. . . .107 360 Luther. Caro Mio Ben. . . . . 3/4 . Op. . O Sch¨nste Sch¨f’rin Mein. . . .103 354 Beethoven. . . menuet II from cello suite # 2. . Come. . F. . . G. D. . .104 358 Mozart. . . E. . . . . . . . . . allegro from string quartet # 6. . . . Chant de Sion. A . . . 4/4 . . . . . . . . Love’s Young Dream. 6/8. . . . C.100 343 / . . C. 2/4 e 111 376 Root. menuet from string quartet # 1. . . . . . . . . . . . . . . . . . . . D. 2/4 . . . G. .104 355 a. . . . . . B. . . . . . ‘W¨r’ Gott Nicht Mit Uns a Diese Zeit’. D.108 365 Autrefois le Rat de Ville (France). .102 352 Bach. F.102 353 Handel. . G. Good-Day to You!. . . . 4/4 . . . Aura Lee. . . . . . G. . d. . 4/4. .

b. . . . . . G. . 3/4 . . C. . . . . . Menuet. Maid of Athens.116 a 390 Bach. . . . B .129 425 lullabye (Russia). . . . . . . 6/8 .130 427 Crouch. . . . . . . . . . . . . . C. . . 2/4 . . . . . . Where Art Thou?. . . . G. 2/4 . . 2/4 . . . . . . . C.123 407 Bach.127 412 C. . . . . . . . . . . e b. 2/4 . 6/8 .115 387 Joplin. . . . .114 384 Bach. . . .129 421 Pergolesi. Jordan. . . . . . Duet No. Fein’s M¨dchen.125 VI The C Clef . . Sohn’. . E . 4/4 . . chorus from ‘Judas Maccabaeus’. . Bourr´e II from orchestral suite #2. C. .V. . . The Easy Winners. . . . . . . a. . 2/4 .127 414 The Ash Grove (Wales). . . 487. G. F.128 417 Wach’ Auf. Chorale. . Menuet I from orchestral suite #1.114 383 Pergolesi. . G. . . . . finale. .119 397 Schubert. 3/4 .129 424 Every Hour in the Day (Georgia). Chorale. 2/4. . 4/4 . Roll (United States). . . . . .122 V-3 Relative Minor and Major . The Orange and the Black. . 4/4 . . 6/8 . 6/8 .115 385 The Cruel Mother (England). . . Du Sollst. . . Duet from The Magic Flute. a. . 3/4 . . Mein Hort. .119 396 Mozart. .128 420 folk song. Alice. . D. . . .118 393 Adelphi School Song. . 4/4 .130 V-2 Blue Notes . . Vater.117 392 Shackleton.124 409 Feinsliebchen. . Kathleen Mavourneen. . 2. . . . . C. . .122 ’Tis Me. aria ‘Sancta Mater’ from Stabat Mater. . . . . . 3/4 . . . . 4/4 .123 408 Bach. 3/4. 2/4 . . E .124 410 Bach. .127 415 Haydn. . . . 4/4. 4/4 . . A . .128 418 La Paloma Blanca (Arizona). 4/4 . . 3/4 . . . G. . . . . . .123 406 Cradle Song (Sweden). . 4/4 . a. . . 6/8 . . . A . . . . f.123 404 Schwesterlein. . 4/4 . 3/4 . 4/4 . . 4/4 . . Venus theme from The Planets. 3/4 . .124 411 Crouch. . . . f. . 2/4 121 Cyclone at Ryecove (Missouri). F. . . . . . . 3/4. . . .123 10 . . F. . . . . A . . . tune from Stabat Mater. . . . . . . . . . . 4/4 . .129 423 Haydn. . D.129 422 Mozart. ‘Befiehl du deine Wege’. . . . ‘Gib Dich Zufrieden und Sei Stille’. . . . . . 6/8 . .117 391 Handel. .128 419 Holst.115 386 Hawthorne. . 3/4 . . a. . E . . . . .382 Media Noche (California). . .121 Roll. . . . . G. Chorale. . C. . . . . Out of Work. C. . A. . . . . . . . . . 4/4 . aria (Papageno) from ‘The Magic Flute’. . . . G. . .121 Europe. . . 3/4 . . . . . . 2/4 . . .116 388 Edwards. 4/4 . . . . Kathleen Mavourneen. d. . . . . . . O Lord (Unites States). Du Sollst. 3/4 . London symphony. g. . e.121 399 400 401 402 403 The Graveyard (South Carolina). . . 3/4 116 389 Erlaube Mir. . . . In My Merry Oldsmobile. . . . . 3/4 . . b. . . Above the Mountains. . . . . . C.127 413 C. . . . G. . .120 398 Mozart. . . Goodnight Angeline. 4/4 .127 416 folk song. . . K. . . . . . 4/4 . . B .118 395 Ascher. menuet Oxford symphony. . from 12 Duets. . G.129 426 Feinsliebchen.118 394 Allen. ‘Das Walt’ Mein Gott. . . . . . B . .120 405 Es Ritt ein Ritter. . . .

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

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

rhythm of Alouette P. Tchaikovsky. 18 19 Tchaikovsky.I. rhythm of waltz of the flowers from The Nutcracker 20 . rhythm of I’ve Been Working on the Railroad 21 .I. rhythm of Away in a Manger . Sixteenth Notes 15 . rhythm of Here We Go Round the Mulberry Bush I-5. rhythm of Rockabye Baby .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 Home On the Range P. rhythm of trepak from The Nutcracker .

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

do re mi fa so la ti do They originate from the Latin hymn Ut Queant Laxis. ‘do’ is always the tonic. In this system. ‘ti’ is always a note with a tendency to move up a half-step to ‘do. for example: do re mi fa so la ti do This may seem confusing at first. . and understand the relationship between the imagined pitches so as to be able to translate them into fingerings.) Sight singing is first and foremost a method of training your brain to understand relationships between musical notes. a jazz musician improvising a solo on the saxophone needs to be able to imagine a melody. but it’s the only system that makes sense to the ear. The solfeggio syllables are a device for making the recognition of the relationships automatic. For example. in which the first word of each successive musical phrase began on the next note of the scale. and is therefore an important component of musicianship even if you consider yourself primarily a composer or instrumentalist rather than a singer. and so on. in which ‘do’ is always C. and the other syllables are assigned to the other notes according to their role in the key.’ the tonic. (There is also a fixed do system. The fixed do system is often taught to European schoolchildren. This book uses the movable do system.Chapter II Major Keys II-1 Introduction to Solfeggio The following syllables are traditionally used for the seven notes of the major scale. 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. In the key of D. ‘re’ is always D. For instance.

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

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

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

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

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

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

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

‘Jesu. 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. Chorale.S. Bach. Leaps to ‘Do’ 25 . Bach. Chorale. meiner Seelen Wonne’ II-3.S. Gottes Lamm’ a 56 J. ‘Seelenbr¨utigam.

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

H. 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. and an octave within the tonic triad.II-5 Easy Leaps Within the Tonic Triad This section introduces leaps of a third. a fourth. Broadway Sights 64 anonymous. Latham. Easy Leaps Within the Tonic Triad 27 . A la Claire Fontaine (France) II-5.

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

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

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

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

Hush.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. My Babe 32 Chapter II. Venite a Consiglio 83 J. Major Keys . Su.J. Rousseau.

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

Etude. 34 Chapter II. Praise.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. 45. Op. Major Keys . Beckoning the Chickens 93 anonymous. #1 anonymous. As-Tu Vu la Casquette? (France) 94 Member (South Carolina) Froebel.

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

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

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

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

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

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

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

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

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

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

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

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

Not Yet 157 anonymous. 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. Ch`re (Louisiana) e (Arizona) 159 Franz Schubert. Wider Leaps Within the Dominant 49 . La Paloma Blanca II-9. Suzette. Das Wandern 158 anonymous.

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

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

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

‘so’ the dominant. 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. If you don’t have a teacher who wants you to use one system or another. ‘so-ti-do’ is still a formula for a cadence. because it lets you recycle many of the patterns you’ve learned in minor. ‘Do’ is still the tonic. and ‘e’ for a flattened one. In this system. the vowel ‘i’ is used for a sharpened note. In both systems.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. The chromatic scale looks like this: . ‘ti’ the leading tone. For instance. I suggest you use the first one. and so on. the names of the notes stay the same when switching between the parallel major and minor.

’) 54 Chapter III. Minor Keys .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. (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.

Steps 55 . Largo 173 3 4 174 3 4 175 8 3 4 174 L. The rhythmic figure is the same as in the preceding tune.R.R. Lewis III-2. 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. Lewis 175 L.III-2 Steps The purpose of the first exercise is to get used to the solfeggio syllables used in minor.

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

Steps 57 .5 9 III-2.

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

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

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

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

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

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

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

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

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

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

Minor Keys .68 Chapter III.

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

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

Arlequin Marie Sa Fille (France) 238 folk song IV-2. Although dominant harmony can often be implied strongly with only one or two notes.IV-2 Leaps Within the Subdominant. Since thirds are the most common leaps. because of its weaker character. Hallelujah (South Carolina) folk song 237 anonymous. 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. Jehovah. Major Keys 71 . * * 236 8 3 4 * Allegro * 237 3 4 More commonly. Leaps Within the Subdominant. Major Keys The first two tunes clearly imply the subdominant chord in the marked measures.’ 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.

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

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

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

254 7 255 7 6 8 14 256 9 3 4 17 254 Thomas Tallis. Evening Bells IV-2. Major Keys 75 . The Huntsman 256 Thomas Moore. Leaps Within the Subdominant. If Ye Love Me 255 anonymous.

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

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

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

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

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

Mozart. The Hallowed Spot IV-2. Avril (France) 279 W. menuet from string quartet # 10 (Missouri) 281 anonymous. Leaps Within the Subdominant.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. folk song (Russia) 280 anonymous. Major Keys 81 .A.

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

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

Mozart.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. presto from string quartet # 4 anonymous. Diadem 288 W. Mozart. Bonne Hˆtesse (France) o 287 J. rondo from string quartet # 6 84 Chapter IV. Other Diatonic Materials . Adieu.A.A. Ellor.

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

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

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

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

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

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

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

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. Walk (Arkansas) 316 anonymous. folk song (Russia) 318 anonymous. A Quinze Ans (France) 92 Chapter IV. Widdecombe Fair (England) 315 anonymous. Other Diatonic Materials . Walk. Reir Es Necesario (Mexico) 317 anonymous. Shepherdess.

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

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

After the Ball IV-6.M. 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. Softly Now the Light of Day 327 Charles K. von Weber. Harris.

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

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

Love’s Young Dream 339 Attributed to Guiseppe Giordiano. 98 Chapter IV. Other Diatonic Materials . 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 . R´mon (Louisiana) e 341 anonymous.S.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. Thompson. Juanita 342 H.

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

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

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

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

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

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

Other Diatonic Materials .106 Chapter IV.

Kevin Barry (Ireland) 362 Who Got Dirt on the .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.

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

Keller. Butterfield.A. Angel of Peace 368 J. When You and I Were Young V-1.9 Maestoso 367 7 13 19 26 368 5 367 M. 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

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

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

S. The Easy Winners 386 Alice Hawthorne. Secondary Dominants and Chromatic Passing Tones 115 . 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. Bach. V-1. The Cruel Mother (England) e Out of Work 387 Scott Joplin.

Erlaube Mir.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. Bach. Menuet I from 116 Chapter V. In My Merry Oldsmobile orchestral suite #1 389 anonymous. Nondiatonic Materials .S.

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

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

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

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

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

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

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

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

25 33 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.)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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