A New Approach to

Sight Singing
A New Approach to
Sight Singing
aoaaaaoaoao
Sol Berkowitz ProfessorofMusic

Gabriel Fontrier
Leo Professor Emeritus of Music

The Aaron Copland School of Music at

Queens College of the City University of New York

W. W. NORTON & C(hfANY New

 ACKNOWLEDGMENTS

Bart6k, Bagatelle, Op. 6, No. 6 (p. 298): Used by permission of Boosey & and Mexico. Intemational Copyright Secured. All Rights Reserved.
Hawkes, Inc. Reprinted by Pennission.
Prokofiev, Lieutenant Kije Suite (pp. 280, 286, 289): Used by permission Don Juan (p. 281): By permission of G. Sch.irmer, Inc.
R. Strauss,
of Boosey & Hawkes, Inc. Stavinsky, Fiæbird (p. 295): By perrnission of G. Schirmer, Inc.
Prokofiev, Peter and Me Wolf (pp. 282, 293): Copyright 0 1937, 1940 Stavinsky, Petrushka (pp. 27, 285, 285): O Copyright 1912 by Hawkes &
(Renewed) by G. Schirmer, Inc. (ASCAP) thmughout the United States, Son (London) Ltd.; Cqyright Renewed. New Version @ Copyright
Canada, and Medco. International Copyr•t Secured. All Rights 1948 by Hawkes & (London) Ltd.; Copyright Renewed. Used by
Reserved. Reprinted by Permission. permission of Boosey & Hawkes, Inc.
Schoenberg Tansfiguæd Night (p. M): Used by permission of Belmont Stavinsky, The Rite of Spring (pp. 287, 298): @ Copyright 1912, 1921 by
Music Publishers, Pacific Palisades, CA 902n Hawkes & Sm (London) Ltd. Used by permission of Boosey &
Shostakovich, Symphony No. 1, I (p. 297): Copyright 0 1927 (Renewed) Hawkes, Im.
by G. Schirmer, Inc. (ASCAP) throughout the United States, Canada, Stravinsky, L'Histoiæ du Soldat (p. 291): By pemissionofG. Schirmer, Im.

Copyright 0 1997, 1986, 1976, 1960 by W. W. Norton & Company, Inc. Copyright 01988 by Sol Berkowitz,
Gabriel Fontrier, and Leo Kraft

All rights reserved

Printed in the United States of America

The text of this book is composed in Palatino with the display set in Helvetica

Music typography and composition by David Budmen, Willow Graphics, Woodstown, New Jersey

Book design by Andy Zutis

Library of Congress Cataloging-in-Publication Data

Berkowitz, Sol.
A new approach to sight singing / Sol Berkowitz, Gabriel Fontrier, Leo Kraft.—4th ed.
P• cm.
ISBN 0-393-96908-8 (pbk.)
1. Sight-singing. I. Frontrier, Gabriel. II. Kraft, Leo.
1997
783' .0423---dc20 96-31963

W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, N.Y. 10110
http://www.wwrwrton.com
W. W. Norton & Company Ltd., 10 Coptic street, London, WCIA IPU

4567890
To John Castellini,
our teacher, our good friend and colleague, our editor,
this book is affectionately dedicated.
Contents
Preface to the Fourth Edition ix

CHAPTER ONE Melodies 1

Section I 3
Section 28
Section 49
Section IV 75

CHAPTER TWO Duets 105

Section I 106
Section II 113
Section IL 124
Section IV 133

CHAPTER THREE D. Sing and Play 141

Section 1 142
Section II 156
Sectionm 180
Section IV 201

CHAPTER FOUR Themes and Variations (Unaccompanied) 234

Section I 235
Section 241
Section 248
Section IV 254

CHAPTER FIVE Melodies from the Literature 260

Section I 261
Section 272
Section 281
IV 288

Supplementary Exercises 299

Part I: Elementary and Intermediate 1 300
Part II: Intermediate II and Advanced 314

APPENDIX ONE Glossary of Terms 325

APPENDIX TWO Some Frequently Used Musical Signs 329

 Preface to the Fourth Edition

About This Book tirely our own material, this new chapter provides
melodies from the standard repertory, together with
This book consists of a coordinated body of musical folk material. Study of these melodies wrill enable stu-

materials specifically composed for the study of dents to make the transfer of learning from exercises
sight singng, as well as a new chapter of melodies to the music with which they will be working dur-
from the standard classical and folk repertories. A ing their professional lives. The melodies in Chapter

mastery of sight singing is essenåal to the per- Five were chosen to represent a wide variety of mu-
former, the scholar, the composer, the teacher—to sical styles, both vocal and ins&umental. A few have

any musician or intelligent amateur. In an ideal been adapted for sight singing purposes. The level
world, instrumental and vocal students would be of difficulty of each secüon within Chapter Five cor-
taught to sing at sight from the beginning of their responds to the comparable level within the other
training, but in reality very few receive such instruc- chapters. At&ibutions are given for each melody.
tion. Training in sight singing often lags behind
training in performance and academic studies.
Courses in sight singing, therefore, have become an Organization of the Book
essential part of the curricula of secondary schools,
conservatories, colleges, and universities. The fourth edition consists of five chapters, as well
While most current texts offer only melodies as supplemaltary exercises, two appendices, and a
from the literature, not created specifically for peda- newly added page "warm-ups" at the beginning
of
gogical purposes, A New Approach to Sight Singing of Chapter One. Chapter One contains unaccompa-
has consisted of music newly composed to provide nied melodies and is the core of the book. Chapter
graded material for sight singing classes. Exercises Two presents vocal duets. Chapter Three contains
written for classroom use formed the basis for previ- melodies with piano accompaniment, including ac-
ous editions of this book. Dravving on the experience companied variation sets. Chapter Four presents un-
of four decades of teaching as well as on valuable accompanied themes and variations. The new
commenG from other users of the book, for this edi- Chapter Five offers melodies from the literature,

tion we have written new material, refined some of drawn from both the written and oral traditions.
the exercises, deleted some others, and added a The supplementa.ry exerdses contain specific drills
completely new chapter. in scales and chords, chromatic notes of all kinds,
and advanced rhythmic problems. Appendix I is a
glossary of musical terms used in the text, which in-

Melodies from the Literature cludes most terms in current use. Appendix ex-
plains some frequently used musical signs.
Prompted by our own teaching experience and the In each chapter there are four sections: Section I

much appreciated suggestions of many colleagues, is at the elementary level, Sections and interme-
we have added a new Chapter Five, "Melodies from diate, and Section IV, advanced. Assuming two class
the Literature," to the fourth edition. While the meetings a week, each section corresponds to one
chapters carried over from previous editions are en- semester's work, about thirty class hours. The mate-
x Preface to the Fourth Edition

rial of each section is graded progressively. The unit nical problems introduced in Chapter One are iden-
of work is the Section. Section I materials in each of tified by brief headings, each followed by a short
the five chapters make up a coordinated body of ex- group of melodies that focuses on the topic at hand.
emises to be used concurrently, sufficient for one se- Immediately after, there is a longer group of melodies
mester. The same applies to Sections II, Ill, and IV. combining all topics introduced up to that point.

A Typical Class The Five Chapters

Beginning students start with the first section of A brief summary of each chapter will give an
each chapter. A freshman hour might begin
class overview of the book's organization:
with singing a group of melodies from Chapter One, The melodies in Chapter One, Section I intro-
Section I. The class could then turn to the duets of duce technical problems progressively: while the
Chapter Two, again using Section I; the unaccompa- first tunes are simple and quite short, later ones

nied melodies of Chapter Three, Section I; one of the gradually increase in length and complexity. These
variation sets in Chapter Four, Section I; or melodies melodies are diatonic, emphasizing fundamental as-
from the literature, Chapter Five, Section I. Much of pects of tonality. Stepwise motion, skips based on fa-
the class time will probably be devoted to singing miliar chord outlines, and basic rhythmic pattems
melodies, which comprise over half of the book. But are presented here. A group of modal melodies con-
frequent use of Chapters navo, Three, Four, and Five cludes this section.
opens up different approaches to the subject, offers a The melodies of Section II, while largely diaton-
desirable change of pace within the class hour, and ic, introduce a few chromatic notes, as well as sim-

also shows how skills acquired in one area may be ple modulation to the dominant or relative major,
applied to other musical situations. together with some larger skips and slightly more
complex rhythms
Section Ill includes more chromaticism and ad-
Place in the Curriculum ditional modulations. Melodies are longer, phrase
structures more complex, and rhythms more di-
A New Approach to Sight Singing is so organized that it verse. Chapter One, Section IV offers more challeng-

may be adapted to different programs of study. ing exercises in tonality as well as in rhythm, meter,
Being essentially diatonic, Sechons I and may readily and phrasing; dynamics, phrase structure, and mu-
be integrated with the study of diatonic harmony sical interpretation are on a more sophisticated level.

and counterpoint, while Sections Ill and IV may be The section concludes with material based on twen-
coordinated with the study of chromatic harmony. tieth-century idioms. T'reble, alto, and bass clefs are
This book offers a large body of materials and found in all sections; the tenor clef is introduced in

there is no expectation that all will be used by every Section IV.

instructor. Rather, we offer as generous a number of The purpose of Chapter Two, "Duets," is to de-
choices as is practical. Each instructor will stress velop skill in ensemble singing. Students not only
those aspects of sight singing that seem appropriate sing their own part but also listen to another, sung
to a particular class of aspiring musicians at a paråc- by a different voice. The duets may also be given as
ular school, drawing upon the various materials in prepared assignments; many colleagues have found
the several chapters in the way that seems most ap- them useful for class dictation.

plicable to the teaching situation. Experience has strengthened our conviction that
the piano is essential in developing musicianship.

Chapter Three affords opportunities to develop that

Topic Headings musicianship by playing one part while singing an-

other. In doing so the student improves the ability to

As an aid to organizing the course, the specific tech- hear, while also developing good intonation and
Preface to the Fourth Edition

sharpening rhythmic "Sing and Play" also

skills. of-
Acknowledgments
fersan effective way to study the relationship be-
tween harmony and melody. This chapter now We take this opportunity to express our appredation
includes variation sets with piano accompaniment. and thanks to the many generation of Queens College
While the instructor may ask some students to per- students whose responses to our book have helped
form "Sing and Play" exercises at sight, these will shape our thinking and who have taught us so much.
most ofte•r be given as homework. We recommend We are also grateful for suggestions from colleagues
an assignment from Chapter Two every week. both on our own campus and beyond it, especially
"Themes and Variations," Chapter Four, offers in the selection of examples from the literature.
relatively extended compositions, which may be sung We are especially indebted to Professor John
entirely by one student or divided among several. Castellini,our patient and devoted editor, who con-
Because the character of the music changes from one Hnuously labored with our manuscript and helped
variation to another, the student is stimulated to define its final form. Many of our basic ideas con-
think about matters of musical interpretation. ceming music and music theory were gained during
In response to suggestions from colleagues our years as students and colleagues of the late
üuoughout the country and in accordance with our Karol Rathaus. To him, then, we owe a special debt
own desire to add this dimension to the book, we of gratitude.
have prepared Chapter Five, which includes melodies Beyond that, the widespread favorable reaction
from the standard repertory and from the folk music to the first three editions has encouraged us to con-
of many cultures. Used in tandem with the other ånue our search for as many approaches to sight
chapters, these melodies provide a transition from singing as we can create.
our exercises to traditional literature. Written origi-
nally for instruments or voice, the melodies in this
new chapter offer a rich diversity of musical styles.
Everyone can leam to sing and to enjoy singing.
No matter what kind of voice one possesses, compe-
Additional Uses of This Book tence in singing can be achieved by consistent prac-
tice. The saåsfaction thus gained will more than
The Supplementary Exerdses provide an assortment justify the effort of time expended. To be sure, sight

of drills in intervallic relationships, skips of all kinds, singing is not an end in itself: it opens the door to
intonation, and rhythm. Part I of the Supplementary musical experiences of many kinds. The ability to
Exercises is to be used with Sections I and II of the sing melodies at sight is also one of the necessary
five chapters, while Part II is to be used with skills that good musician must possess. Music
a
Sections IL and N. does not live on paper. To bring it to life there must
This book has been used in a number of ways, be an instrument that can sing, an ear that can hear,
including classroom dictation. The duets have been and a musical mind that can sing and hear in the si-
proven particularly valuable for that purpose. Those lence of thought.
wishing to find a way of developing hearing skills
outside the classroom may consult Leo Kraft's A Berkowiü / Fontrier / Kraft
New Approach to Ear Training.*An excellent way for Queens College 1996
students to continue work on their own is to write
down melodies that they know or have heard re-
cently, or to which they have access through record-
ings. It is also quite valuable to play familiar music
by ear on the piano or another instrument.

*New York: W. W. Norton, 1967.

A New Approach to
Sight Singing
FOURTH EDITION u
 V, CHAPTER ONE

Melodies

Before singing a melody (or performing music of Tempo can be established and meter defined by
any sort) it is necessary to understand thoroughly the student if he beats å.me as a conductor does.
the system of music notaåon we use today. The five- Standard conducting pattems should be used con-
line staff with the clef signs, 6me signatures, tempo sistently. g å.me may be conducted in six or in two

indications, and expression markings consåtute a beats; g and f time in separate beats or in three or
musical code, all the elements of which must be de- four beats respectively. Tempo, and often the charac-
coded simultaneously in order to transform what ter of a melody, will serve the student in determin-
has been set down on paper into music. ing how to conduct compound meters.

Establish the Key Singing Melodies Without Texts

The melodies in Secåon I are tonal. Each is vvritten in a It is advisable to sing some definite syllable for
sped.fic key and the must establish that key be- every note the better to control quality and intona-
fore attempting to sing. The tonic note of the key tion. In many foreign countries solfeggio (the applica-
(rather than the first note of the melody) should be üon of the sol-fa syllables to the degrees of the scale)
played on the piano or the pitch pipe and sung by the is used in sight singing. This practice is officially

student. Then the scale of the key should be sung, as- sanctioned by foreign national conservatories. In our
cending and descending, after which an arpeggio con- country, however, several methods of singing
sisting of tonic, 3rd, 5th, and octave may be sung to melodies without texts are in common use. These
establish a feeling for the tonality of the melody. may be summarized as follows:

Fixed Do
Establish the Tempo In the fixed Do system, our notes, C, D, E, F, G,
A, and B, are called Do, Re, Mi, Fa, Sol, La, and Ti. In
Next it is necessary to take cognizance of the tempo singing a melody, the name for each note is sung
(rate of speed) and the meter (number of beats to the without regard to any Countries which
measure). Many differatt indications have beel use this technique have been quite successful with
used in this book to familiarize studQt with most it, perhaps because of the rigorous early training
of the terms in common use. It is important ülat the which their students receive.
sinF the meaning of these tempo markings, all
of which are to be found in the Glossary (page 325). Movable Do
The üme signature denotes meter. Simple me- In the movable Do system, Do always represents
ters (duple, friple, and quadruple) are indicated by the tonic or first degree of the scale, regardless of
signatures having a 2, 3, or 4 as the upper numeral, key. Accidentals are accounted for by changing the
or by the signs C (corresponding to meter) or (alla syllables. The ascending chromaåc scale reads as fol-
brae, corresponding to meter). Regular compound lows: Do, Di, Re, Ri, Mi, Fa, Fi, sol, Si, La, Li, Ti, Do.
meters (8, g, and l?) are of simple me- descending chromaåc scale reads as follows:
ters within one measure. Do, Ti, Te, La, 12, sol, se, Fa, Mi, Me, Ra, Do.

1
2 Chapter One / Melodies

When amelody modulates, the new tonic is an instrument, the beginner may be tempted to con-
called Do, and the other notes of the scale are re- centrate on producing the correct pitch, hoping that
named accordingly. The purpose of this system is to other musical values will be acquired in due course.
emphasize the relationship between the degrees of But melodies do not exist without rhythm; they also
the scale, and to develop a feeling for tonality even have nuances of dynamics and tempo, and climaxes.
when the tonal center shifts. These qualities are an integral part of the music. It is
possible to improve one's musicianship while learn-
Other Methods
ing the technique of sight singing by thinking about
Numbers (1, 2, 3, etc.) may be used instead of musical values with the first melody in the book. As
syllables (Do, Re, Mi, etc.). The application is the an aid to intelligent and sensitive performance we
same as in the movable Do system except that there
have included dynamics, expression, and articulation
is no numeral change for chromatic tones.
markings throughout the book. The eye should be
One syllable, such as la, may be used for all trained to observe them; the mind to implement them.
pitches. Thus the singer does not have to translate
the pitch names into syllables or numbers.
A musician is expected to know the system in Prepare to Sing
common use wherever he may be; therefore, the stu- Clearly, there is much to do, and it is suggested the
dent should master more than one of these techniques.
student "make haste slowly." The first melodies should
be studied carefully in order to develop good musical
Phrasing The student should sing a melody several times,
if necessary, until ease and fluency are achieved.
The student is urged to avoid note-to-note singing Before you start to sing, we suggest that you:
and to make a genuine effort to grasp an entire
phrase as a musical entity. To guide and encourage
• Look at the melody quickly (scan it): where are
this process of looking ahead, slurs and articulation
the high and low points?
markings have been placed over the phrases of • Look for dynamic marks and articulation.
• Sing an arpeggio that fits the range of the melody.
every melody. These indications define the phrase
• Sing one or more of the following warm-ups in
structure and serve as a guide to breathing.
the key and tempo of the exercise.
• It is helpful to beat time as you sing, using stan-
Musical Values dard conducting patterns.

In practicing the singing of melodies, as in practicing Here are some suggested warm-ups:

Warm-ups
 MELODIES SECTION 1
To be used with Section I of all other chapters

The first melodies emphasize the basic aspects of enough to be grasped at a glance. However, the di-
tonality. They are designed to include easily recog- versity of rhythms, keys, modes, tempos, dynamics,
nizable scale and chordal pattems. These diatonic and clefs should provide a variety of musical experi-
melodies are based on both major and minor modes. alces. The alto clef is introduced in exercise 33b; the
The phrases are usually symmetrical and short rrünor mode in 47; compound meter g in 59c.

The first eight melodies are based entirely on stepwise motion The largest range is a single oc-
tave. Note values include o J . All of these melodies begin with the root of the tonic triad.
Each of the first eight melodies is in one phrase.

l. Andante

2. Allegætto

3. Allegro

4. Andante cantabile

5. Allegro

3
4 Chapter One / Melodies

6. Largo

7. Andantino

8. Allegretto

Each of the next four melodies is built in two phrases. Scan the melody for the peak of each phrase.

9. Con moto

10. Allegro

11. Allegro

12. Allegro deciso

Section I
5

V/z The pattem of two short phrases and one longer one is found in the next three melodies.

13. Allegretto

14. Allegro

15. Andante

u The following nine melodies introduce skips in the tonic triad.

16. Allegro

17. Andante con moto

18. Vivace

19. Allegretto
6 Chapter One / Melodies

20. Allegro moderato

P
21. Allegro con brio

22. Allegro molto

23. Allegro

24. Allegretto

7/" The rhythm J. is included in the next five melodies.

25. Allegro moderato

26. Allegro
Secäon I

27. Vivace

28. Andante

29. Andante

30. Allegro

31. Vivace

32. Andante cantabile

8 Chapter One / Melodies

Thesame melody is written with three different clefs.

33a. Moderato

33b. Moderato

33c. Moderato

Z. The next ten melodies are written using the alto clef.

34. Andante

35. Largo

P cresc.
dim.

36. Allegretto

37. Allegro con spirito

Section I

38. Modéré

39. Largo

40. Vivace

41. Larghetto

42. Allegro

dim.

43. Andante
10 Chapter One / MeWies

44. Andante

mp
45. Moderato con moto rall.

a tempo

46. Allegro con spirito

Three C-minor scales.

Natural

Harmonic
1

Melodic 1

Melodies in which the major and minor modes are compared may be found in Supplementary Exerciæs, p. 301ff.
Secäon I 11

Thenext seven melodies are built on minor scales.

47. Andante

mp

48. Allegro

49. Andantino

50. Allegro

51. Allegro moderato

52. Andante

53. Allegætto
12 Chapter One / Melodies

7/4. Skips in the tonic minor triad are found in the next four melodies.

54. Andante

55. Allegro

56. Allegretto

57. Moderato

58. Allegretto

piif

The same melody is notated in three different meters.

59a. oderato
Section I
13

59b. Allegro

59c Larghetto

The next eight melodies are in g time. Observe the differences between two versions of the same
melody, given in different modes.

60. Andantino

61. Andantino

mp

62. Allegretto

63. Allegretto

64. Allegro
14 Chapter One / Melodies

65. Allegro

66. Con anima

67. Con anima

u Rests are included in some melodies from this point on.

68. Allegro moderato

69. Andante cantabile

70. Allegro
Section I
15

71. Andantino (in one)

72. Allegro

The next four melodies begin with the 5th of the tonic triad.

73. Allegro

' ' 114 ' r 1

74. Larghetto

75. Andante
16 Chapter One / Melodies

76. Andante pastorale

The next three melodies begin with the 3rd of the tonic triad.

77. Allegro

78. Andantino

79. Allegro con spirito

80. Andante
Section I
17

81. Frisch und munter

The next four melodies begin with upbeats.

82. Allegro moderato

cresc.

83. Andantino

84. empo di menuetto

85. Andantino

P con calma

Thenext ten melodies include skips in the IV chord, in both major and minor.

86. andante
18 Chapter One / Melodies

87. Andante

88. Allegro

89. Allegro

90. Larghetto

91. Larghetto

92. Allegro energico

93. Allegro energico

Section I
19

94. Allegro

95. Allegro

96. Andante sostenuto

97. Allegro

cresc.

98. Moderato

cresc.

99. Valse

mp
20 Chapter One / Melodies

100. Moderato

101. Allegro

102. Andante con moto

mp

103. Scherzando

104. Tempo di menuetto

105. Con moto

mp
Secåon I 21

106. Allegro

107. Assez lent

108. Allegro deciso

109. Langsam

110. Andante con moto

p espressivo

Ill. Allegro deciso

22 Chapter One / Melodies

112. Larghetto

cresc.

Thenext five melodies include skips in the V chord, in both major and minor.

113. Vifet léger

114. Vifet léger

115. Andante

116. Andante

117. Missig
±ction I 23

118. Largo

mp

119. Allegro moderato

120. Avec mouvement

121. Allegro giocoso

122. Allegro moderato

123. Risoluto

P cresc. poco a poco

24 Chapter One / Melodies

124. Moderato

125. Animato

126. Ben ritntico

Err

127. Adagietto

mp
adagio

128 Valse
Secåon I 25

Section I concludes with a group of melodies based on these four modes.

Dorian Mixolydian

Aeolian (Natural Nfinor)

129. Moderato (Dorian)

130. Andante (Dorian)

131. Andante con moto (transposed Dorian)

132. Lento (Phrygian)

mp

13 Andante con moto (Phrygian)

26 Chapter One / Melodies

134. Moderato con moto (Phrygian)

135. Allegro (transposed Phrygian)

136. Mässig (Mixolydian)

137. Allegro non troppo (Mixolydian)

138. Vivement (transposed Mixolydian)

Secåon I
27

139. Movingfortvard (Aeolian)

140. Ihzto (Aeolian)

mp PP

141. Andante sostenuto (transposed Aeolian)

rail.

dim.
 MELODIES SECTION 11
To be used with Section II of all other chapters

These melodies contain simple modulations, more each melody is clearly defined. Some phrases are
complex rhythms, and diatonic skips in a variety of longer; some are less symmetrical; syncopations are
contexts. As in Melodies, Section I, the tonality of introduced; and the vocal range is extended.

The next six melodies introduce skips in the V7 chord, in both major and minor.

142. Andante

143. Andante

144. Andante con moto

145. Langsam

146. Allegretto

147. Andante

mp

28
Secåon 29

148. Con moto

149. Larghetto

poco rit.

150. Allegro

cresc.

151. Andantino

152. Con moto

30 Chapter One / Melodies

153. Ballando

The next five melodies introduce less frequently used meters: a' Y, and i.

154. Andante cantabile

155. Doux et expressif

dim.

156. Larghetto

ur.n •r A1

157. Pastorale

mp
Secåon II
31

158. Andante con moto

Triplets are included in the next three melodies.

159. Maestoso

160. Largo

161. Andante con moto

32 Chapter One / Melodies

162. Andante

mp

163. Ziemlich schnell

cresc. poco a poco

Skips of all diatonic intervals up to an octave are included from fruis point on.

164. Andante con moto

rail. a tempo

cresc.

165. Lentement

166. Langsam
Section II
33

L. Ties are included in many of the melodies from this point on.

167. Allegretto

168. Andante

eco

169. Vivace

cresc.

falfine

170. Allegro

piif
 Chapter One / Melodies

171. Allegro

172. Alla marcia

173. Andante

The next six melodies begin with upbeats or

174. Allegro marziale

riten.

piif
Section
35

175. Andante pastorale

10

dim.

176. Allegro

cresc.

177. Con moto

178. Allegro

179. Gaio
36 Chapter One / Melodies

Syncopations are introduced in the next six melodies.

180. Allegro

181. Sustained

P sempre

182. Gaio

183. Largo
-...----—..N rall.

cresc.
f subito dim. P

184. Lively

185. Brisk
Section II
37

186. Andante

187. Andantino (in one)

188. Andante

mp

cresc.

189.

190. Allegretto

x:yr
38 Chapter One / Melodies

191. Allegro

cresc.
mp

192. Valse (in one)

cresc. mf

perdendosi

193. Andantino grazioso

mp

The next four melodies include chromatic neighbor notes.

194. Andante

195. Andante
Section 39

196. Andantino piacevole

197. Moderato

198. Missig und zart

mp

199. Lively
40 Chapter One / Melodies

200. Moderato con moto

201. Allegretto

cresc.

202. Cheerful

P sub.

The next four melodies, in the minor mode, move through the relative major. Before singing,
find the point where that motion begins.

203. Allegro
Section 41

204. Allegro moderato

cresc.

205. Larghetto

206. Andantino

cresc.

207. Andante

mp
42 Chapter One / MeWies

208. Waltz tempo

rall.

cresc.

a tempo

209. Allegro moderato

f pesante

cresc.

The next three melodies include chromatic passing notes.

210. Moderato con moto

Section
43

211. Andante con moto

cresc.

212. Allegro non troppo

213. Lilting

214. Ben ritmico

44 Chapter One / Melodies

215. Maestoso

cresc.

216. Animé

217. Lento

mp

mp

218. Slowly

cresc.
P with expression

219. Andante con moto

P
Secåon 45

The next three melodies, in the major mode, move th.rough the dominant.

220. Allegretto grazioso

221. Fanfate

222. Allegro assai

cresc.
p e staccato

piif
46 Chapter One / MelMies

223. Allegro e ben marcato

224. Allegro gioviale

225. Andantino

mp
rit.

226. Allegro moderato

Fine

pii forte
Section II
47

D. C. al Fine

p subito

227. Minuet

228. Modéré

229. Allegro gioviale

48 Chapter One / Melodies

230. Briskly

231. Etwas gedehnt

cresc.

232. Allegro lunatico

233. Scherzando

Fine

D. C. al Fine
 MELODIES SECTION 111
To be used with Section Ill of all other chapters

Chromaåc alterations are used with increasing sity of rhythms, intervals, phrase structures, and
frequency in melodies of this section. Some indicate musical styles.

modulation; some are factors in secondary dom- The material of Section can readily be corre-
inant harmonies; others are melodic embellishments. lated with the study of chromatic harmony.
Within these melodies there is an increasing diver-

V". Skips larger than one octave are found in the next four melodies.

234. Allegro

235. Allegro moderato

236. Andante con moto Dm

237. Allegro deciso

49
50 Chapter One / Melodies

238. Allegro con brio

239. Andante ed espressivo

240. Largo e mesto

cresc.

241. Lively
Section 51

242. Larghetto

dim.

243. Mit Kraft

244. Allegro gioviale

245. Valse (in one)

l'2Atr.a

246. Allegro grazioso

 Chapter One / Melodies
52

Skips to chromatic notes are introduced in the next five melodies.

247. Allegro moderato

248. Andante mosso

249. Tempo di valse

250. Larghetto

10

251. Moderato

P cresc.

cresc.
P subito
Section m 53

252. Gavotte

253. Pas trop lent

254. Largo e maestoso

255. Allegretto
54 Chapter One Melodies

256. Andante con moto

rit.
a tempo

257. Fast

258. Sostenuto ed espressivo

cresc.

cresc.

259. Allegretto

r.rr

I.er
Section
55

r.er

cresc.

260. Schnell und fröhlich

cresc.

261. Largo

cresc.

KYI•r

dim.

262. Vivace

try —
cresc.

263. Etzvas langsam und zart

rit.
56 Chapter One / Melodies

264. Allegro deciso

r.rr r.rr

piip

265. Briskly

mf staccato

cresc. poco a poco

Secondary dominants are outlined in the next five melodies.

266. Energetic

267. Andante con moto

P
Section m 57

268. Allegro

269. Sehr rasch

cresc.

270. Allegretto

Dao
271. Innig

cresc.

cresc.
 Chapter One / Melodies
58

272. Valse

273. Ziemlich bewegt

z.rr

274. Allegretto

The meters \ and* are introduced in the next five melodies.

275. Allegro

276. Andantino
Section 59

277. Allegro

mp

278. Slowly and simply

l'2.Atr.——

279. Moderate

I.ew

280. Lento

nr espressivo
60 Chapter One / Melodies

281. Presto

cresc.

cresc.

282. Lilting

mp

mp

283. Andantino amabile

cresc.

perdendosi
Secåon
61

284. Lebhaft

285. Allegretto

286. Animé et tres expressif

287. Allegro assai

62 Chapter One / Melodies

288. Presto alla Tarantella

cresc. poco a poco

cresc.

289. Cheerful

290. Assez lent

291. Medium bounce

Section IL
63

292. Andante espressivo

rail. a tempo

riten.

293. Rather slowly

dim.

294. Vifet léger

cresc.

295. Modéré et doucentent

dim.
64 Chapter One / Melodies

The next four melodies, in the major mode, include the flatted sixth scale degree.

296. Andante

297. Andantino

298. Waltz

299. Andante semplice

300. Quasi presto

Section m 65

301. Allegro giocoso

mp cresc.

ZYJ•r

302. Allegretto

303. Alla Tarantella

cresc.

304. Allegro gioviale

305. Andante ben ritmico

mf pesante

mp
66 Chapter One / Melodies

7/" The dominant ninth chord, in both major and minor, is outlined in the next four melodies.

306. Andante

307. Larghetto

308. Andantino

309. Adagio ed espressivo

310. Largo
Section m

311. Allegretto scherzoso

312. Largo

313. Vif

314. Lebhaft
68 Chapter One / Melodies

315. Ballando
rall.

a tempo

316. Allegretto e leggiero

mp

cresc.

317. Galop

cresc. alfine

318. Lento assai

corta

p dim.
cresc.
Section m 69

319. Fast

••.JJ%tr

320. Allegretto

cresc. mf dim.

321. II pii presto possibile

cresc.

322. Valse

rit.

cresc.
70 Chapter One / Melodies

323. Alla marcia

324. Andante e rubato

325. Allegro molto

cresc.

cresc.

326. Animated
Section 71

m.rr
cresc.

327. Allegretto

mp

328. Lively >

329. Vifet gai

mf detached
72 Chapter One / Melodies

330. Etwas langsam und zart

cresc.
mp

10
cresc.

331. In jig time

cresc.

332. Allegro assai

f staccato
Section
73

333. Mässig und ausdrucksvoll

334. Allegro non troppo

335. Fast

336. Enetgetic
 Chapter One / Melodiæ

337. Largo con afetto

338. Presto

cresc.
 MELODIES SECTION IV
To be used with Section IV of all other chapters

The melodies in this section present challenging sifiedchromaticism, modal idioms, and complex
problems of intonation, rhythm, and phrase stuc- syncopation offer the advanced student both chal-
ture. The tenor clef is introduced at the beginning of and stimulus.
the section. Modulation to remote keys, the use of The concluding melodies of this section intro-
and diminished intervals, a more inten- duce Oventieth-century idioms.

V". The next nine melodies are written using the tenor clef.

339. Allegro

340. Moderato

cresc.

341. Largo

mp

342. Andante

75
76 Chapter One / Melodies

343. Allegro

344. Sostenuto

cresc.

345. Presto

346. Allegro deciso

347. Allegretto
Secåon IV

348. Lento

cresc.

349. Minuet

350. Tempo di valzer

351. Avec mouvement

P cresc. poco a poco

dim.
 Chapter One / Melodies

352. Con spirito

piif

353. Lento

354. Con moto

355. Allegretto giocoso

cresc.
Section IV
79

356. Lento

357. Valse brillante (in one)

cresc.

358. Molto adagio

359. Slow and expressive

80 Chapter One / Melodies

360. Andante misterioso

361. Sostenuto ed espressivo

mf dim. poco a poco

362. Andantino e leggiero

mp

363. Moderato con moto

piip

364. Langsam und ausdrucksvoll

Section
81

365. Allegro energico

366. Allegro assai

cresc.

367. Bewegt

D. The flatted supertonic scale degree is in&oduced in the next five melodies.

368. Andante
82 Chapter One / Melodies

369. Allegro

370. Langsam

371. Allegro

cresc. P sub.

372. Langsam

zurückhalten a tempo

373. Allegro
Section IV 83

cresc.

374. Moderato e pomposo

375. Larghetto

cresc.

P sub.

376. Allegretto

cresc.
84 Chapter One / Melodies

377. Con anima

rall.

378. Lively

379. Allegretto

cresc.

dim.

380. Allegretto

381. Lively
Section TV 85

382. Adagio

cresc. 3

383. Andante

dim.

384. Larghetto

mf espr. P leggiero

385. Waltz (in one)

piif dim.
86 Chapter One / Melodies

386. Andante con moto

387. Free and easy

388. Ländler

389. Valse brillante

cresc.
Section IV 87

390. Etwas gedehnt

poco cresc.

391. Allegro

cresc.
piif

392. Allegro deciso

f detached

393. Andantino
 Chapter One / Melodies
88

394. Arietta—Andante

P espr.
stringendo

cresc.

rail. Tempo I

dim.

rn•r

poco cresc.

395. With movement

poco rall.

396. Andante

cresc.

s empref
Section IV 89

397. With gusto

398. Grave

cresc.

399. Lento ed espressivo

cresc.

400. Allegro piacevole

mp

J. The next four melodies include changing meters.

401. Allegro
90 Chapter One / Melodies

402. Langsam

piif

403. Lebhaft

cresc.

404. Piacevole

f (Ia seconda voltap)

405. Allegro energico

cresc.
Secåon IV
91

406. Allegretto

cresc.

407. Andantino espressivo

408. Allegro moderato

rubato a tempo

dim.

409. Tris vif et détaché

Fine

D. C. al Fine

cresc.
92 Chapter One / Melodies

410. Allegro

f con calore

411. Maestoso

piif

cresc.

412. Larghetto

mf 3

413. Allegro non troppo

Secåon IV 93

414. Lebhaft und fröhlich

cresc.

415. Allegro con brio

416. Allegretto

417. Presto leciero

p sempre
94 Chapter One / Melodies

418. Allegro piacevole

419. Lento
poco rall.

420. Moderato e mesto

r.r•r.r—
cresc.

421. Largo espressivo

dim. cresc.
mp

422. Slow Blues

Secåon IV 95

423. Allegretto

10

424. Mazurka—Risoluto

mp

rit. a tempo

piif mp

425. Largo

dim.

426. Allegro
96 Chapter One / Melodies

427. Tempo di marcia

f mp

Major and minor modes are combined in the next seven melodies.

428. Allegro con spirito

cresc.

429. Allegretto

430. With well-marked rhythm

431. Bewegt wie zuvor

gedehnt gedehnt
Section IV
97

432. Allegro

433. Allegro non tanto

cresc.

434. Tempo di minuetto

cresc.

rail.
a tempo

435. Expressively

decresc.
98 Chapter One / Melodies

436.

437. Andantino

438. Mässig und zart

cresc.

dim.

439. Vivo
Section IV
99

440. Con moto

cresc.

441. With spirit

442. Lively

la seconda voltap

443. Spiritoso
 Chapter One / Melodies
100

444. Allegro gioviale

p cresc. molto

ff mf

445. Lebhaft und stark

im Zeitmass
zurückhaltenr.

446. Andante espressivo

mp riten.

447. Allegro
Section IV 101

448. Allegro giocoso

calando

449. Vivo

P subito

cresc.

450. Allegro marcato

451. Andante

cresc.
102 Chapter One / Melodies

452. Allegro moderato

453. Andante

cresc.

454. Moderato

Octatonic scales have eight notes arranged in a pattern of alternating whole steps and half steps.
Two octatonic scales:

The next four melodies are based on octatonic scales.

455. Andante con moto

mp
Section IV
103

456. Flowing

dim.

457. Andante espressivo

cresc.

dim.

458. Allegretto gioviale

459. Allegretto
104 Chapter One / Melodies

460. Vivo

cresc.

461. Allegro con brio

 CHAPTER TWO

Duets

I'he experience of singing one part while listening to intonation and rhythmic precision. For additional
another develops that sense of independence so es- practice, it is usåu.l to play one part at the piano
sQtial to a good a-tsernble performer. Hearing the wlüle singing the other. These duets may also be
harmonic and contrapuntal relation between your used for dictation.

melodic Ime and another will help maintain correct

105
 DUETS SECTION 1
l. Andante

2. Allegretto

3. Lento

4. Andantino

5. Larghetto

106
Section I
107

6. Andante

7. Larghetto

8. Allegretto

9. Andante

mp

mp

10. Allegro
108 Chapter Two / Duets

11. Allegretto

12. Andante

13. Allegretto

14. Moderato con moto

15. Andante
Section I
109

16. Andante cantabile

mp

mp

17. Larghetto

18. Allegro moderato

19. Allegretto

20. Allegro
110 Chapter Two / Duets

21. Allegro con spirito

22. Moderato con moto

23. Allegro giocoso

24. Allegro

cresc.

cresc.

dim.

dim
Section I
111

25. Allegretto

cresc.
mp

mp cresc.

26. Allegro moderato

27. Allegretto

28. Andante espressivo

112 Chapter Two Duets

29. Allegretto

30. Andante con moto

 DUETS SECTION 11
31. Andante con moto

32. Andantino

cresc.

cresc.

dim.

dim.

113
114 Chapter Two / Duets

33. Andantino

mp
10

1 10

mp

34. Langsam

35. Largo espressivo

Section 115

36. Lento

p subito f

P subito

37. Andante espæssivo

38. Giocoso
116 Chapter Two / Duets

39. Mässig

cres .

cresc.

P subit

P subito

40. Allegro con spirito

rit.

rit.

41. Andantino

cresc.

p cresc.
Section II
117

42. En allant

mp cresc.

cresc.
mp

43. Adagio espressivo

mp

mp "7nf

dim.

dim.
118 Chapter Two / Duets

44. Andante cantabile

45. Allegretto giocoso

46. Moderato
Section II
119

47. Mässig

cresc.

48. Lively

49. Allegretto

50. Allegro
120 Chapter Two / Duets

51. Allegretto

(la seconda voltap)

f (la seconda voltap)

52. Flowing

11

53. Allegro

cresc.

cresc.

rit.
Section II
121

54. Andantino

dim.

dim.

55. Allegro gioviale

56. Allegro
122 Chapter Two Duets

57. Allegretto

cresc.

cresc.

58. Con brio

59. Andante con moto

Secåon II 123

60. Andantino (Dorian)

cresc.

cresc.

dim

61. Ben ritmico (Phrygian)

rit.

dim.
rit.

dim.
 DUETS SECTION 111
62. Moderately fast

mp

mp

rall.

63. Modéré

f sempre

f sempre

64. Modéré, avec mouvement

124
Section Ill
125

65. Gedehnt

poco rit.

cresc.
poco rit.

66. Vivo

mp

mp
126 Chapter Two / Duets

67. Allegro

mp

mp

68. Langsam

69. Andante con moto

Section m 127

70. Vivo

p subito

p subito

71. Moderato con tenerezza

72. Molto allegro

P leciero e staccato
128 Chapter Two Duets

73. Vifet gai

cresc.

cresc.

74. Lively

75. Lively, with humor

Section
129

76. Allegro moderato

piip

pii p

77. Spiritoso

cresc. poco a poco

cresc. poco a poco

130 Chapter Two / Duets

78. Allegretto

1 10

cresc.

cresc.

dim.

dim.

79. Adagietto

80. Largo
Section
131

cresc. poco a poco P sub.

cresc. poco a poco P sub.

81. Lento

P dolce cresc.• poco a poco

esc. oco a poc

P dolce

82. Andante affettuoso

poco rit.

poco rit.
132 Chapter Two / Duets

83. Langsam und ausdrucksvoll

mp cresc.

mp cresc.

84. Allegro molto

 DUETS SECTION IV
85. Allegro deciso

alla ando

allargando

86. Andante espressivo

mp P sub.

mp P sub. mf

cresc. mp

cresc.

rit.

mp dolce
rit

mp dolce
mp
133
134 Chapter Two / Duets

87. Missig

88. Etwas langsam

cresc.

cresc.

dim.

89. Affettuoso
Section IV
135

calando

calando

90. Allegro deciso

fseFnpre

f sempre

91. Memily

mp

mp

dim.
136 Chapter Two Duets

92. Adagietto

mp

mp

cresc.
cresc. al fine

cresc.

cresc. al fine

93. Andante

mp

mp cresc.

cresc. dim.

dim.
94. Ziemlich langsam

P cresc.

P cresc.
Section IV
137

f dim.

95. Andante con moto

cresc.

cresc.

p subito

P subito

96. Gedehnt
138 Chapter Two / Duets

97. Andante

p leggiero e staccato

p leggiero e staccato

98. Andante espressivo

99. Molto lento

P espressivo mp

p espressivo mp
Secåon IV 139

cresc. dim.

dim.
cresc.

100. Deciso

101. Allegretto e marcato

cresc.

cresc.

cresc.

cresc.
140 Chapter Two Duets

102. March

fsempre

fsempre
 CHAPTER THREE •

Sing and Play

These exercises provide an introductory experience the accompaniment. The piano is especially useful
in singing vocal music with piano accompaniment. in overcoming potential difficulties with intonation.
This chapter deals with the same melodic issues as Students with little pianistic ability may use the
are found in Chapter One, now
with accompani- duets of Gapter Two as additional easy sing and
ment; each section ends with a series of themes and play exercises. We suggest that a number of these
variations for voice and piano. exercises be assigned each week prior to the class
These short pieces should be sung and played meeång.
by the same person. Therefore the piano parts have TIE skill acquired through the study of this
been kept at a minimal level of difficulty. The em- chapter will prepare the student to explore some of
phasis is on the melodic line and its relationship to the richest treasures in the musical literature.

141
 SING AND PLAY SECTION 1
1. Moderato

2. Andante

3. Moderato

4. Allegro
poco rit.

5. Andante

142
Section I
143

6. Allegro

7. Allegro

8. Andante sostenuto

9. Largo

10. Andante
144 Chapter Three / Sing and Play

11. Allegro

12a. Allegro (maggiore)

12b. Allegro (minore)

13. Allegretto
Section I
145

14. Andante

B'Ä'.Jl%tr:—..»—

15. Allegretto

16. Andante

17. Allegro
146 Chapter Three / Sing and Play

18. Allegretto

cresc.

cresc.

19. Allegro

20. Moderato

21. Andante

cresc.
Section I 147

22a. Andante (maggiore)

22b. Andante (minore)

23a. Andantino (maggiore)

23b. Andantino (minore)

148 Chapter Three / Sing and Play

24. Allegretto

25. Moderato

cresc.

cresc.
Section I
149

26. Allegro

27a. Moderato (maggiore)

27b. Moderato (minore)

28. Allegretto
 Chapter Three / Sing and Play
150

29a. Allegro (maggiore)

29b. Allegro (minore)

Section I
151

Themes and Variations for Voice and Piano

The following exercises provide ftrther opportunity a variety of piano textures, harmony, and
illustrate

for combining voice and piano. Variation procedures rhythms in support of the vocal lines.

30. Theme: Allegro

Var. 1: Allegro

sempre staccato

Var. II: Andante

Var. Ill: Andante

152 Chapter Three / Sing and Play

Var. I V: Allegro molto

31. Theme: Allegro deciso

Var. I: Allegretto

Var. 11: Moderato

Section I
153

Var. 111: Presto

Var. lv: March

154 Chapter Three / Sing and Play

32. Theme: Andante sostenuto

Var. I: Moderato

mp

mp

Var. II: Adagio

Var. 111: Allegro

Section I
155

Var. IV: Allegro

Vaz V: Moderato
 SING AND PLAY SECTION 11
33. Moderato

34. Andantino

35. Allegro

cresc.

cresc.

156
Section II
157

36. Allegretto

37. Andantino

38. Lento

39. Moderato
158 Chapter Three / Sing and Play

40. Allegretto

110

41. Allegretto

42. Andantino
Section II 159

43a. Moderato (maggiore)

mp

mp legato

43b. Moderato (minore)

mp legato
160 Chapter Three / Sing and Play

44. Andante

45a. Modéré (maggiore)

Section II
161

45b. Modéré (minore)

46. Allegro
162 Chapter Three / Sing and Play

47a. Moderato (maggiore)

rall.

rall.

47b. Moderato (minore)

rall.

rall.
Section II
163

48. Allegro

mf

49. Lento
164 Chapter Three Sing and Play

50. Lento

poco rit.

poco rit.

51. Allegro

110
Section II
165

52a. Andantino (maggiore)

52b. Andantino (minore)

mp

53. Andante
166 Chapter Three / Sing and Play

54. Moderato

55. Allegretto

cresc.

cresc.

dim.

dim.
Section 167

56. Lento

xy.

rit.

rit.

57. Allegro ma non troppo

58. Andante
168 Chapter Three / Sing and Play

59. Adagio

60. Allegro
Section 169

61. Langsam

p (la seconda voltaf)

p (la seconda voltaf)

62. Andante
170 Chapter Three / Sing and Play

63. Moderato

simile

64. Adagio

mf legato
Section II
171

65. Andante cantabile

66. Allegretto

sempre staccato
172 Chapter Three Sing and Play

67. Adagietto

r.er

simile

rit.

rit.
Section II
173

Themes and Variations for Voice and Piano

68. Theme: Moderato

mp

mp

Var. I: Moderato

Var. II: Allegro

174 Chapter Three / Sing and Play

Var. Ill: Allegro

Var. I V: Andante

mp

mp

Var. V: Allegro tranquillo

69. Theme: Mesto

Section II
175

Var. I: Andante

8 8 8
mp

Var. II: Moderato

Var. Ill: Andantino

Var. IV: Allegretto

poco rit.

poco rit.
176 Chapter Three Sing and Play

Var. V: Lento

rall.

rall.

70. Theme: Allegro grazioso

Var. 1: Allegro

Var. II: Adagio

Section
177

Var. Ill: Allegro gioviale

Var. IV•. Moderato

Var. V: Allegro
178 Chapter Three / Sing and Play

71. Theme: Allegro

Var. 1: Allegro

Var . 11: Moderato

Var. Ill: Andante espressivo

Section II
179

poco cresc.

poco cresc.

Var. lv: Allegro

r.er r.r•—
1-3 -J

rit. 3

rit.
 SING AND PLAY SECTION 111
72a. Allegro assai (maggiore)

p staccato

72b. Allegro assai (minore)

p staccato

73. Allegretto

180
Section 181

cresc.

cresc.

74. Lento
rit.

PP espr. rit.

75. Andantino

cresc.

cresc.
182 Chapter Three / Sing and Play

76. Andante con moto

mf

dim.

dim.

77. Allegretto grazioso

78. Largo

mp
Section
183

79. Allegretto

80a. Moderato (maggiore)

sempre staccato
184 Chapter Three / Sing and Play

80b. Moderato (minore)

sempre staccato

81. Pastorale

cresc.

pkw simile cresc.

Section 185

dim.
morendo

dim. morendo

82. Etwas bewegt

83. Missig und zart

mp

mp
186 Chapter Three Sing and Play

84. Andantino

85. Langsam

rail.

*Appoggiatura: see Glossary.

written sung written sung

Section
187

86. Slowly

87. Latghetto
188 Chapter Three / Sing and Play

88. Berceuse

mp

mp

dim. P sotto voce

dim.

89. Mässig und ausdrucksvoll

Section
189

90. Andante maestoso

cresc. poco a poco

cresc. poco a poco

190 Chapter Three Sing and Play

91. Andantino

92. Andante cantabile

cresc.

cresc. simile
Section
191

cresc.

cresc.

dim.

dim.

93. Recitativo

poco rit.
a tempo

poco rit. a tempo

192 Chapter Three / Sing and Play

Themes and Variations for Voice and Piano

94. Theme: Allegro grazioso

Var. I: Moderato

Var. II: Gioviale

Section Ill
193

Var. 111: Cantabile

accel.

accel.

Var. I V: Andante espressivo

Var. V: Brillante
194 Chapter Three / Sing and Play

95. Theme: Slow blues

Var. 1: Moderato

Var. II: With energy

Secåon 195

Var. 111: Lazy

rit.

rit.

Var. IV: Moderately fast

-o

Var. V: Jazz waltz

196 Chapter Three / Sing and Play

96. Theme: Ruhig

Var. 1: Walzer

Var. II: Lebhaft

fsempre staccato

Var. Ill: Ziemlich langsam

Section IL 197

Var.1V: Walzer
rit.

rit.

Var. V: Ruhig
zurückhalten

zuriickhalten

pp

97. Theme: Slow and hymnlike

Var. I: Slow and solemn

simile
198 Chapter Three / Sing and Play

Var. II: Lively

simile

Var. 111: Fast

simile

Var. I V: Very slow

Var. V: Slow and solemn

simile
Section
199

98. Theme: Adagio e sostenuto

Var. I: Moderato

simile

Var. II: Andante espressivo

Var. 111: Gioviale

200 Chapter Three / Sing and Play

Var. IV: L'istesso tempo

Var. V: Innocente

rit.
 SING AND PLAY , SECTION IV
99. Innig

201
202 Chapter Three / Sing and Play

100. Andante sostenuto

con pedale

101. Mit Empfindung

Secåon IV 203

cresc.

cresc.

102. Moderately fast

*The rhythm in classical music is usually performed as eh in jazz.

204 Chapter Three / Sing and Play

103. Jazz waltz) = 60

con pedale

104. Tempo di valzer

cresc.

cresc.
Section IV
205

cresc.

cresc.

105. Vivo

cresc.

cresc.
206 Chapter Three Sing and Play

106. Andante con moto

simile
PP legato

cresc. morendo

cresc. mp morendo
Section IV
207

107. Ziemlich langsam

cresc.

cresc.

rail.

rall.
208 Chapter Three / Sing and Play

108. Lento

cresc. poco a poco

cresc. poco a poco

calando

calando

109. Slowly J = 72
Section IV
209

110. Teneramente

rit.

rit.

a tempo

perdendosi
a tempo

erdendosi

20.
210 Chapter Three / Sing and Play

111. Andantino con grazia

112. Allegro con brio

Section IV 211

p subito cresc.

P subito cresc.

rail.

rail.

113. Pensive J = 66
212 Chapter Three Sing and Play

114. Moderate

115. Slow
Section IV
213

116. Tenderly
214 Chapter Three Sing and Play

117. Moderately slow

cresc.

cresc.

118. Andante con moto

Section IV
215

rall.
a tempo 3

3
rall. a tempo

119. Energetic, but not too fast

216 Chapter Three / Sing and Play

120. Slowly

dim.

dim.

121. Slow and expressive

mp

simile

cresc.

cresc.
Section IV 217

perdendosi
L.H.

perdendosi

122. Jazz waltz (in one)

simile
218 Chapter Three / Sing and Play

123. Doux et expressif

r.rr

cresc. poco a poco

cresc. poco a poco

P subito

P subito

124. Molto sostenuto

Section IV 219

125. Modéré

un peu retenu lent

dim. PPP
un peu retenu lent

dim. PPP
220 Chapter Three / Sing and Play

126. Lentement

dim.

dim.
Section IV 221

127. = 60

cresc.

cresc.

mp

mp
222 Chapter Three Sing and Play

128. Langsam = 54

cresc.

cresc.

dim.

dim.
Section IV
223

Themes and Variations for Voice and Piano

129. Theme: Appassionato

Var. I: Allegro

Var. II: Adagio

rall.

rall.

simile

Var. Ill: Allegretto

224 Chapter Three Sing and Play

Var. IV: Moderato

Var. V: Allegro grazioso

mp

mp simile

rall.

rall.

130. Theme: Slow blues

Section IV 225

Var. I: Jazz waltz (in one)

simile

simile

Var. II: Flowing

r.er
r.rr
226 Chapter Three Sing and Play

Var. Ill: With energy

mp

mp

Var. I V: With excitement

Section IV
227

131. Theme: Playfully

Var. I: Slow

'71M' _

Var. II: Agitated

Var. Ill: Slow and solemn

228 Chapter Three / Sing and Play

Var. I V: Slowly and expressively

132. Theme: Adagio sostenuto

Var. 1: Grave
rall.

rall.
Section IV
229

Var. II: Piacevole

Var. 111: Adagio

rall.

rall.
230 Chapter Three / Sing and Play

Var. I V: Funerale

molto sost.

simile
rall.

PPP
rall.

PPP

133. Theme: Andante

Var. I: Moderato

mf sempre legato
Section IV 231

Var. II: Allegretto

Var. Ill: Andante

rit.

Var. I V: Allegro (in one)

Var. V: Maestoso
molto rit.

molto rit.

simile
232 Chapter Three / Sing and Play

134. Theme: Lent

Var. 1: Modéré

mp

mp

Var. 11: Gracieux

Section IV
233

Var. 111: Léger

p sempre staccato

Var. IV: Lentement

Var. V: Gracieux

mfL—3
 CHAPTER FOUR •

Themes and Variations

(Unaccompanied)

Themes and variations provide the opportunity of tive skills than the shorter melodies of Chapter One.
singing more extended musical compositions. The The nature of the material and the levels of diffi-
constantly changing character of the music as the culty are comparable to those of the melodies in
variations unfold demands a larger range of interpre- Chapter One.

234
 THEMES AND VARIATIONS (UNACCOMPANIED)
SECTION 1

1st Theme and Variations

Theme: Andante

Var. I: Andante

Var. 11: Allegro

Van 111: Moderato

Var. IV: Lento

Var. V: Presto

cresc. poco a poco

235
236 Chapter Four / Themes and Variations (Unaccompanied)

2nd Theme and Variations

Theme: Moderato

Var. I: Andante

Var. 11: Allegro

Var. 111: Presto

Var. Lento

Var. V: Allegro con brio

3rd Theme and Variations

Theme: Andante
Section I 237

Var. I: Andante

mp

Var. II: Andantino

Var. 111: Lento

Var. IV: Andante (magøore)

Vaz V: Allegretto (minore)

238 Chapter Four / Themes and Variations (Unaccompanied)

4th Theme and Variations

Theme: Allegro moderato

Var. 1: Allegro

Var. II: Andantino

mp cresc.

Var. 111: Allegro

mp
Section I
239

Var. lv: Tempo 1

Var. V: Allegro con spirito

5th Theme and Variations

Theme: Moderato

Var. I: Moderato

mp
' 10
240 Chapter Four / Themes and Variations (Unaccompanied)

Var. II: Poco pii mosso

Var. Ill: Largo (minore)

Var. I V: Allegretto (maggiore)

mp cresc.

Var. V: Allegro

cresc.

mp
 THEMES AND VARIATIONS (UNACCOMPANIED)
SECTION 11

6th Theme and Variations

Theme: Allegro innocente

Var. I: Grazioso

mp

Var. 11: Andantino

cresc.

Var. Ill: Andante

r.rr —r
P leggiero

241
 Chapter Four / Themes and Variations (Unaccompanied)
242

Var. I V: Adagietto (minore)

Var. V: Allegretto (maggiore)

7th Theme and Variations

Theme: Lento

mp

Var. I: un poco pii mosso

mp cresc.

f p sub.
Var. II: Andantino

cresc.

cresc.
Section II
243

Var. Ill: Allegretto

mp cresc.

mp cresc. al fine

'3'ÄA.a•r

Var. IV: Adagio (maggiore)

Var. V: Allegro gioviale (minore)

244 Chapter Four / Themes and Variations (Unaccompanied)

Var. VI: Allegro

8th Theme and Variations

Theme: Moderato

mp

Var. I: Moderato

n:rr

Var. II: Allegretto

Section II
245

Var. Ill: un poco sostenuto

Var. IV: Largo (minore)

Var. V: Allegro non troppo (maggiore)

cresc.

9th Theme and Variations

Theme: Adagietto

mp
246 Chapter Four / Themes and Variations (Unaccompanied)

Var. I: Alla marcia

cresc.

Var. II: Allegretto

mp

cresc.

Var. Ill: Allegro misterioso

dim.

Var. I V: Largo e cantabile (maggiore)

poco rit.
Section
247

Var. V: Valse brillante (minore)

cresc.
allargando
 THEMES AND VARIATIONS (UNACCOMPANIED)
SECTION 111

10th Theme and Variations

Theme: Allegro grazioso

Var. I: Pii allegro

mp

Var. II: un poco pii mosso

Var. 111: Allegro (minore)

cresc.

dim.

Var. I V: Allegro con moto (maggiore)

248
Section Ill
249

Var. V: Tempo di valzer

P (eco)

Var. VI: Allegro

cresc.

P cresc.

1 lth Theme and Variations

Theme: Allegretto grazioso

mp cresc.
mp

Var. I: Allegretto

mf staccato cresc.
250 Chapter Four / Themes and Variations (Unaccompanied)

Var. II: Larghetto (minore)

mp

cresc.

Var. Ill: Adagietto (maggiore)

mp cresc.

a tempo
rit.

cresc.

Var. IV: Allegro molto

Var. V: Allegro scherzando

ritenuto

cresc.
Section
251

12th Theme and Variations

Theme: Andante

mp

Var. I: Andantino

r.rr

mp

Var. II: Allegro appassionato

sempre

Var. Ill: Andante tranquillo (maggiore)

 Chapter Four / Themes and Variations (Unaccompanied)
252

Var. I V: Allegretto (minore)

mp
poco rit.

Var. V: Vivace

p cresc. poco a poco

13th Theme and Variations

Theme: Andante cantabile

Var. I: un poco pii sostenuto

cresc.
Section Ill
253

Var. II: Allegro

poco rall.

r.rw

Var. Ill: Allegro deciso

r.rrr

cresc.

cresc.

Var. I V: Poco adagio

calando

Var. V: Allegro spiritoso

 THEMES AND VARIATIONS (UNACCOMPANIED)
SECTION IV

14th Theme and Variations

Theme: Vivace

cresc.
mp

Var. I: Allegretto

r.er

Var. II: Andantino (minore)

254
 255

Var. Ill: Allegretto

...v cresc.

P subito mp

cresc.

ran,

dim.

Vaz IV: Allegro (maggiore)

mp cresc.

15th Theme and Variations

Theme: Allegretto

mp
256 Chapter Four Themes and Variations (Unaccompanied)

Var. 1: Andante

cresc.

Var. II: Grazioso

rit. a tempo

cresc.

Var. Ill: Allegro (minore)

cresc.

poco rit. a tempo

sub.p

Var. I V: Andantino cantabile (maggiore)

P espr. cresc.

dim.
Section 257

Var. V: Moderato

Var. VI: Allegro

cresc.

16th Theme and Variations

Theme: Andante
rit.

Var.l: J.=J

rit.
 Chapter Four / Themes and Variations (Unaccompanied)
258

Var. II: un poco meno mosso (maggiore)

simile

attacca

Var. Ill: Moderato (minore)

Var. IV: Allegro

molto rit.

17th Theme and Variations

Theme: Allegro deciso

Section IV
259

Var. I: Allegretto

Var. II: Allegro

Var. Ill: Moderato (minore)

Var. IV: Presto (maggiore)

 CHAPTER FIVE •

Melodies from the Literature

The melodies of Chapter Five come from two Many of the melodies have been edited to conform
sources: the concert repertory of the last two and a with the phrasing and articulation of the melodies in
half centuries, and the literature of folk music from previous chapters. Some have been adapted to make
many lands. These melodies offer a wide diversity them more suitable for sight singing. The four sec-
of styles, as well as many different approaches to tions of this chapter are coordinated with the sec-

matters of phrasing, dynamics, and interpretation. tions of the previous chapters.

260
 MELODIES FROM THE LITERATURE SECTION I
1. Moderato Chorale: "Christus, der ist mein Leben"

2. Largo Chorale: "Web mein Herz, mit den Gedenken"

3. Andante Chorale: "Wie schön leuchtet der Morgenstem"

cresc.

4. Langsam Chorale: "Ach, wie nichtig, ach, wie flüchtig"

5. Larghetto Chorale: "In allen meinen Taten"

261
262 Chapter Five / Melodies from the Literature

6. Andante con moto Chorale: "Herzliebster Jesu, was hast du?"

cresc.

7. Modera to Chorale: "Straf' mich nicht in deinem Zorn"

8. Allegro Beethoven: Violin Concerto, I

9. Marchlike Germany

10. Allegretto Germany

Section I
263

11. Slow Appalachia, USA

12. With Spirit Appalachia, USA

13. Allegro Sweden

14. Vivace Sweden

cresc.
264 Chapter Five / Melodies from the Literature

15. Andante (three-voice canon) Gennany

1. 2.

3.

16. Allegretto Mozart: Symphony No. 39, Ill

17. Andantino Poland

18. Vivement France

19. Adagio Weber: Overture to Der Freischütz

20. Lively Spiritual

Section I
265

21. Langsam Schubert: Wiegenlied

22. Allegro assai Beethoven: Symphony No. 9 ("Choral"), IV

23. Lustig Germany

24. Fast Appalachia, USA

cresc.

25. Mässig Germany

266 Chapter Five / Melodies from the Literature

26. Fast and lively H. C. Work: "Kingdom Coming"

27. Allegretto Mozart: The Marriage of Figaro, Act I

28. Moderato Japan

rit.

29. Very slowly Japan

30. Langsam Chorale: "O Haupt voll Blut und Wunden"

Secåon I 267

31. Slow Spiritual

32. Andante con moto Mendelssohn: Symphony No. 4 ("Italian"), II

33. Lively Spiritual

34. Moderato J. Bland: "Oh, Dem Golden Slippers"

35. Fast
268 Chapter Five / Melodies from the Literature

36. Andante Mozart: Don Giovanni, Act I

37. Moderato J. Bland: "Carry Me Back to Old Virginny"

38. Moderato Foster: "Maggie By My Side"

39. Slowly and expressively Appalachia, USA

rit.
Section I
269

40. Slowly Appalachia, USA

Fast
' • 10

41. Flowing "Santa Lucia" (Italy)

rit.

42. Allegretto Denmark

 Chapter Five / Melodies from
270 the Literature

43. Adagio Verdi: Prelude to La Traviata

44. Andante Japan

mp
rit.

45. Allegretto Russia

PP (echo)

46. Moderate Appalachia, USA

mp
Section I
271

47. Vivement France

48. Allegro Handel: Conceno Grosso No. 12, II

49. Moderate tempo, with sentiment Ireland

 MELODIES FROM THE LITERATURE SECTION II
50. Allegretto D. Scarlatti: Sonata in Eb minor

51. Very slowly Appalachia, USA

52. Langsamer Ländler Germany

53. Vif Rameau: Le niais de Sologne

54. Allegretto Appalachia, USA

272
Section 273

55. Im Lindler-tempo Germany

56. March Tempo "Buffalo Gals" (USA)

57. Moderately fast "Captain Jinks" (USA)

fine

D.C. alfine

cresc.

58. Moderately fast Appalachia, USA

274 Chapter Five / Melodies from the Literature

59. Sadly Appalachia, USA

poco rit.

60. Plaintively Spiritual

61. Frisch Schumann: "Frühlings fahrt"

62. Andante Bach: Well-Tempered Clavier, Book I, No. 1

Section II
275

63. Allegro Handel: Judas Maccabeus, Part Ill

fine

D.C. alfine

cresc.

64. Leise Schumann: "Ich will meine Seele tauchen"

65. Zart Germany

66. Allegretto Beethoven: Symphony No. 6 ("Pastoral"), V

cresc.
276 Chapter Five / Melodies from the Literature

67. Allegro Vivaldi: Concerto Grosso, Op. 3, No. 11, II

68. Allegro ma non troppo Dvoiåk: String Quartet, Op. 96, I

69. Allegro non troppo Brahms: Symphony No. 1, IV

70. Andante Mendelssohn: Symphony No. 3 ("Scottish"), I

dim.

71. Andantino quasi allegretto Rimsky-Korsakov: Scheherazade, Ill

Secfion II
277

72. Tempo marziale Gounod: Faust, Act IV

73. Stravinsky: Petrushka, First Tableau

74. Langsam Weber: Der Freischütz, Act II

75. Allegro Haydn: Symphony No. 104 ("London"), I

76. Allegro vivace Mozart: Symphony No. 41 ("Jupiter"), I

278 Chapter Five / Melodies from the Literature

77. Allegro vivace e con brio Beethoven: Symphony No. 8, I

78. Andante con moto Schubert: Symphony No. 5, II

79. Con grazia Brahms: "Der Gang zum Liebchen"

animato

80. Andante Gluck: Orphée, Act 111

81. Allegro moderato Bach: "Little" Fugue

Section II
279

82. Largo Dvoiåk: Symphony No. 9 ("From The New World"), II

83. Andantino Borodin: Polovetsian Dances from Prince Igor, Act II

84. Andante tranquillo Mendelssohn: Midsummer Night's Dream, Noctume

dolce

85. Largo. Cantabile e mesto Haydn: String Quartet, Op. 76, No. 5, II
 Chapter Five / Melodies from the Literature
280

86. Andante Prokofiev: Lieutenant Kije Suite

87. Allegro Mozart: The Marriage of Figaro, Act I

 MELODIES FROM THE LITERATURE SECTION Ill
88. Andante con moto Beethoven: Symphony No. 5, II

p dolce

89. Con moto Hungary

90. Allegro molto con brio R. Strauss: Don Juan

91. Moderato cantabile Chopin: Fantasie-lmpromptu

281
282 Chapter Five / Melodies from the Literature

92. Andantino Tchaikovsky: Symphony No. 4, II

93. Moderato Prokofiev: Peter and the Wolf

94. Allegro molto Beethoven: Symphony No. 3 ("Eroica"), IV

cresc.

95. Adagio un poco mosso Beethoven: Piano Concerto No. 5 ("Emperoff'), II

cresc. dim.
Section Ill
283

96. Allegretto Fauré: "Dans les ruines d'une abbaye"

dim.
cresc.

97. Moderato Foster: "Beautiful Dreamer"

cresc.

98. Tris calme et doucement expressif Debussy: "The Girl with the Flaxen Hair"

P sans rigueur

99. Andante moderato Beethoven: Symphony No. 9 ("Choral"), Ill

p espressivo cresc.

cresc.
284 Chapter Five / Melodies from the Literature

100. Allegro cantabile Liszt: II Lamento, I

101. Allegro Bach: Organ Fugue, BWV 542

102. Largo Handel: Rinaldo, Act 11

103. Nicht schnell Schumann: "Marienwürmchen"

Section LI
285

104. Allegro Berlioz: Roman Camival Overture

105. Presto Haydn: Symphony No. 80, IV

106. Allegro Stravinsky: Petrushka, Third Tableau

107. Allegro giusto Stravinsky: Petrushka, First Tableau

286 Chapter Five / Melodies from the Literature

108. Allegro ma non tanto Beethoven: String Quartet, Op. 18, No. 4

109. Allegretto Mozart: Clarinet Quintet, IV

10

110. Allegretto Prokofiev: Lieutenant Kije Suite

Ill. Moderato Wagner. Tannhäuser, Act 111

Section Ill
287

112. Allegro D. Scarlatti: Sonata in F minor

113. Allegro agitato e presto Verdi: Aida, Act I

114. Largo Verdi: 11 Trovatore, Act 11

1-3 -JL-3-,

1-3-3 L 3 -J

—l L-3= 1-3 = 3

115. Andante con moto = 60 Stravinsky: The Rite of Spring, Part II

molto cant. ma non

 MELODIES FROM THE LITERATURE SECTION IV
116. Andante con moto Mendelssohn: Elijah, Part I

117. Largo Haydn: Symphony No. 88, II

118. Andantino Saint-Sains: Samson and Delilah, Act II

pii cresc.
cresc.

dim.

119. Allegro Weber. Overture to Oberon

P dolce

288
Secåon IV
289

120. Allegro fastoso Prokofiev: Lieutenant Kije Suite

P con grazia

mp

121. Sehr langsam und ausdrucksvoll Brahms: "Die Mainacht"

122. Lebhaft Schumann: UUnd wüssten's die Blumen"

rit.

123. Langsam Schumann: "Hör' ich das Liedchen klingen"

290 Chapter Five / Melodies from the Literature

124. Allegro moderato Bizet: Carmen, Act II

cresc.

125. Allegretto maestoso Rossini: Stabat Mater

cresc.

126. Allegro vivace Liszt: Mephisto Waltz

127. Poco allegretto Brahms: Symphony No. 3, Ill

mezza voce
Section IV 291

128. Ziemlich geschwind, doch kräftig Schubert: "Der stürmschen Morgen"

129. Adagio Beethoven: Symphony No. 4, II

cresc.

cresc.

130. Larghetto Bach: Mass in B Minor, Kyrie

131. Andantino Tchaikovsky: The Maid of Orleans, Act I

poco cresc.

132. M.M.' = 112 Stravinsky: L'Histoire du Soldat

molto
292 Chapter Five / Melodies from the Literature

133. Andantino Fauré: un réve"

3-ar—3n

134. Allegretto dolcissimo Grieg: "With a Violet"

cresc.

dim. e poco rit.

135. Andante Grieg: "Autumn Song"

cresc. molto
cresc. poco agitato
poco rit.
Section IV
293

136. Poco Allegro Franck: Fugue

137. Allegretto Beethoven: Thirty-two Variations in C minor

138. Allegro Mozart: Piano Concerto, K. 491, I

139. Andantino Prokofiev: Peter and the Wolf

294 Chapter Five / Melodies from the Literature

140. Allegro guisto e con forza Musorgsky: Boris Godunov, Act I

cresc.

141. Vivo ma non troppo Chopin: Mazurka, Op. 7, No. 2

cresc.
poco rall.

a tempo

142. Allegro energico Liszt: Sonata

Section IV 295

143. Andantino Rimsky-Korsakov: Scheherazade, II

P dolce ed espressivo

rit. assai

144. M.M.J = 168 Stravinsky: The Firebird

145. Allegro Bach: Keyboard Concerto in D minor, I

146. Lento Wagner. Lohengrin, Act I

cresc.
296 Chapter Five / Melodies from the Literature

147. Andante sentimentale Tchaikovsky: Noctume

rit.

Larghetto, quasi largo Musorgsky. "Reverie"

•

149. Mässig langsam Wagner: Tristan und Isolde, Act I

kräftig nachlassend

feurig
Section IV
297

150. Allegro molto Wagner. Tannhäuser

cresc.

151. Ruhig Schoenberg: Transfigured Night

152. Allegro non troppo* Shostakovich: Symphony No. 1, I

Äl•r

*Transposed up one tone for ease of singing.

298 Chapter Five / Melodies from the Literature

153. Lento Bart6k: Bagatelle, Op. 6, No. 6

a tempo

poco cresc. dim.

smorzando

dim. PPP

154. Lento) = 50 Stravinsky: The Rite of Spring, Part I

a piacere
poco accel.
 Supplementary Exercises

These drills are designed to focus upon various arranged in order of increasing complexity. We sug-
technical problems. Part I is concemed principally gest that the student first leam an exercise slowly
with the development of the sense of key. Part II and accurately, then increase the speed as much as

concentrates upon problems involving chromati- possible.

cism. Both parts also contain rhythmic patterns

299
 SUPPLEMENTARY EXERCISES PART 1
Exercises for use with Sections I and II

The first nine exercises focus on major scales and triads.

300
Part I
301

D. Exercises 10—13 are designed to show similarities and differences between the major and minor
modes.

10a. Major

10b. Melodic minor

I OC. Natural minor

IOd. Harmonic minor

302 Supplementary Exercises

I la. Major

11b. Melodic minor

llc. Natural minor

Ild. Harmonic minor

12a.

12b.

13a.
Part I
303

13b.

• •

The next sevel melodies focus on scales and triads in the minor mode.

14.

15.

16.

18.
304 Supplementary Exercises

19.

20.

21.

22.
simile

23.

24.
Part I
305

25.

26.

27.

28.

29.

30.
306 Supplementary Exercises

31.

32.

33.

34.

35.

36.
Part I
307

38.

39.

The next seven exercises stress specific intervals.

40.

41.
308 Supplementary Exercises

43.

45.

46.

47.

48.

49.
Part I
309

50.

51.

52.

53.
310 Supplementary Exercises

55.

56.

The next eleven exercises start on a note other than the tonic.

57.

58.

59.

60.
Part 1
311

61.

62.

63.

65.

66.
312 Supplementary Exercises

68.

69.

70.

71.

72.
Part 1
313

73.
 SUPPLEMENTARY EXERCISES PART II
Exercises for use with Sections Ill and IV

The next six exercises offer practice in enharmonic equivalents.

75.

76.

78.

79.

80.

314
Part II
315

Various scales and modes for practice.

81. Ionian mode (major scale)

82. Aeolian mode (natural minor scale)

83. Harmonic minor scale

84. Melodic minor scale

85. Dorian mode

86. Mixolydian mode

87. Phrygian mode

316 Supplementary Exercises

88. Locrian mode

89. Lydian mode

90. Whole-tone scale

91. Chromatic scale

92a. Whole-tone and Chromatic scale

92b. Chromatic and Whole-tone scale

93.

94.
Part n 317

95.

96.

Octatonic scales have eight notes a-ranged in a pattern of alternating whole steps and half steps.
Two octatonic scales:

97.

98.

The remaining exercises are studies in chromatidsm.

99.

100.
318 Supplementary Exercises

101.

102.

• —r•.rr n•.rr

103.

104.

105.

106.

107.
Part 11
319

108.

109.

110.

111.

112.

113.
320 Supplementary Exercises

115.

116.

117.
Part 11
321

118.

119.

120.

121.

122.
322 Supplementary Exercises

123.

r.r•c —•r

124.

125.

126.

127.
Part II
323

128.

129.

130.

131.
 APPENDIX ONE •

Glossary of Musical Terms

All terms are Italian unless otherwise noted. Abbreviations are given in parentheses.

Accelerando (accel.), gradually getting faster Arietta, a small aria

Acciaccatura, a short appoggiatura Assai, very
Adagietto, somewhat faster than adagio Assez, Fr., fairly, enough
Adagio, slow (slower than andante, faster than largo) A tempo, in the original speed
Affetto, tenderness Attacca, attack or begin what follows without pause
Affettuoso, tender Ausdrucksvoll, Ger., expressive
Agitato, agitated Avec, Fr., with
A1 fine, to the end
Alla, to the, at the, in the style of Ballando, dancing
Allargando, getting slower (crescendo often implied) Ben, well, very
Allegretto, moderately fast (slower than allegro, faster Berceuse, Fr., lullaby
than andante) Bewegt, Ger., rather fast, agitated
Allegro, fast, cheerful Breit, Ger., broad, stately
All'ottava (8va), at the octave Brillante, brilliant, sparkling
Amabile, with love Brio, sprightliness, spirit
Andante, moderately slow (slower than allegretto,
faster than adagio) Calando, decreasing in both dynamics and tempo
Andantino, in modern somewhat faster than
usage, Calma, Calmo, calm, tranquil
andante; in older usage, somewhat slower than Calme, Fr., calm
andante Calore, warmth, passion
Anima, spirit Cantabile, in a singing or vocal style

Animato, animated, spirited Cedez, Fr., slow down

Animé, Fr., animated, spirited Colla voce, literally "with the voice," meaning that
A piacere, rhythm and tempo played at performer's the accompanist should follow the free rhythm
discretion; freely used by the singer
Appassionato, impassioned, intense Comodo, at a leisurely, convenient pace
Appoggiatura, a melodic omament; of the many Con, with
types there are two main classifications: the ac- Corta, short
cented (long) appoggiatura and the short appog- Crescendo (cresc.), inaeasing in volume of sound
giatura (grace note). The first, written as a small
note, is accented and borrows time value from Da capo (D. C.), from the beginning
the note it precedes. See note on page 186. The Da capo al fine, repeat from the beginning to the end;
second is usually written as a small eighth or that is, where fine is written
to the place
sixteenth note with a slanting stroke through the Dal segno alfine, repeat from the sign to the end; that
flagand stem. It is executed quickly, so that the is, to the place where fine is written

accent falls on the melody note it precedes. Deciso, decisive, bold

325
326 Appendix One / Glossary of Terms

Decrescendo (decresc.), decreasing in volume of sound Giusto, exact

Del, of the Gracieux, Fr., graceful
Détaché, Fr., detached Grave, very slow, solemn (generally indicates the
Di, of slowest tempo)
Diminuendo (dim.), decreasing in volume of sound Grazia, grace
Doch, Ger., yet Grazioso, graceful
Dolce, sweet (soft is also implied)
Dolcissimo, very sweet II piü, the most
Doux, Fr., sweet (soft is also implied) Im Zeitmass, Ger., in the original speed
Doucement, Fr., sweet (soft is also implied) Innig, Ger., heartfelt, ardent
Innocente, unaffected, artless
E, ed, and
Eco, echo Kraft, Ger., strength
Einfach, Ger., simple Kräfiig, Ger., strong, robust
Empfindung, Ger., expression
En allant, Fr., moving, flowing La, It. and Fr., the
Energico, energetic Ländler, Ger., a country dance in triple meter
Espressione, expression Langsam, Ger., slow
Espressivo (espr.), expressive Larghetto, not as slow as largo
Et, Fr., and Largo, slow, broad
Etwas, Ger., somewhat Lebhaft, Ger., lively,animated
Expressif, Fr., expressive Legato, to be performed with no interruption be-
tween tones; in a smooth and connected manner
Fastoso, stately, pompous Léger, Fr., light
Feierlich, Ger., solemn Leggiero (also Leggero), light, delicate
Feurig, Ger., fiery, impetuous Leise, Ger., soft

Fine, end Lent, Fr., slow

Fliessend, Ger., flowing Lentement, Fr., slowly
Force, Fr., strength, force Lento, slow; not as slow as adagio
Forte (f), loud L'istesso tempo, in the same tempo as the previous
Fortissimo (f), very loud section
Forza, force Lunatico, performed in the spirit of lunacy
Frisch, Ger., brisk, lively Lustig, Ger., cheerful

Fröhlich, Ger., joyous, gay

Fun?bre, funereal Ma, but
Fuoco, fire, fiery Maestoso, majestic, dignified
Maggiore, major (referring to mode)
Gai, Fr., gay Mais, Fr., but
Gaio, gay Marcato, marked, with emphasis
Galop, Fr., a lively round-dance in duple meter Marcia, march
Gavotte, Fr., a French dance generally in common time, Marziale, martial
strongly accented, beginning on the third beat Mässig, Ger., moderate
Gedehnt, Ger., extended, sustained Mazurka, Polish national dance in triple meter
Geschwind, Ger., quick Meno, less

Gigue, Fr., a very fast dance of English origin in triple Menuetto, minuet (moderately slow dance in triple
or sextuple meter meter)
Giocoso, playful Mesto, sad, mournful
Gioviale, jovial Mezza voce, with half voice, restrained
Appendix One / Glossary of Terms 327
Mezzo forte (M), moderately loud
Mezzo piano (mp), moderately soft Recitativo, sung in a declamatory manner
Minore, minor (referring to mode) Retenu, Fr.,held back
Minuetto, minuet (modaately slow dartce in triple meter) Rigore, strictness

Misterioso, mysterious Rigueur, Fr., strictness

Mit, Ger., with Risoluto, firm, resolute

Moderato, moderate (slower than allegro, faster than Ritardando (rit.), gradually growing slower
andante) Ritenuto (riten.), held back
Modéré, Fr., moderate (slower than allegro, faster than Ritmico, rhythmically
andante) Rubato, literally, stolen; the term indicates freedom

Möglich, Ger., possible and flexibility of tempo so that the requirements

Molto, much, very of musical expression can be met
Morendo, dying away Ruhig, Ger., calm, tranquil
Mosso, in motion (piü nt$so, faster; meno slower) Saltarello, a lively dance of Italian origin, often in
Moto, motion Sans, Fr., without
Mouvement, Fr., motion, tempo, movement Scherzando, light, playful
Munter, Ger., lively Scherzo, a fast piece in triple meter
Scherzoso, jesting, playful
Nicht, Ger., not Schnell, Ger., fast

Niente, nothing Seconda, second

Non, not Sehr, Ger., very
Semplice, simple, unaffected

Ongarese, Hungarian Sempre, always

Sentimentale, It. and Fr., with sentiment
Pas, Fr., not Senza fretta, without haste
Pastorale, pastoral Sforzando M, with force, accented
Pedale, sustaining pedal on a piano Siciliano, a moderately slow dance of pastoral char-
Perdendosi, gradually fading away acter in for g time
Pesante, heavy, ponderous Simile, alike, in like manner
Peu, Fr., little Smorzando, dying away
Piacere, at pleasure; expression is left to the per- So, Ger., as
former's discretion Sostenuto, sustained

Piacevole, pleasant, graceful Sotto voce, softly, with subdued voice

Piano (p), soft Spirito, spirit
Pianissimo (pp), very soft Spiritoso, with spirit, animated
Piü, more Staccato, detached
Plus, Fr., more Stark, Ger., strong, vigorous
Poco, little Stringendo, pressing forward
Poco a poco, by little, gradually
Little Subito (sub.), suddenly
Pomposo, pompous
Portamento, a smooth gliding from one not to another Tanto, as much
Possibile, possible Tarantella, a lively dance of Italian origi.n, usually in g
Pressez, Fr., press forvvard Tempo, åme; refers to rate of motion
Presto, very fast (faster than allegro) Tempo primo (Tempo I), in the original speed
Teneramente, tenderly, delicately
Quasi, almost, nearly Tenerezza, tendemess
Tranquillo, tranquil
Rallentando (rall.), gradually growing slower Tres, Fr., very
Rasch, Ger., fast Triste, It. and Fr., sad
328 Appendix One / Glossary of Terms

Trop, Fr., too much, too Volta, turn or time

Troppo, too much, too
Walzer, Ger., waltz
un, It. and Fr., a Wie, Ger., as
und, Ger., and
Zart, Ger., tender, soft
Valse, Fr., waltz Zeitmass, Ger., tempo
Valzer, Ger., waltz Ziemlich, Ger., somewhat, rather
Vif, Fr., lively Zu, Ger., too, to, by
Vite, Fr., quickly Zuvor, Ger., previously
Vivace, lively, quick Zurückhalten, Ger., to hold back, to retard
Vivement, Fr., lively
Vivo, lively, animated
V, APPENDIX TWO

Some Frequently Used

Musical Signs
Accent

Crescendo

Diminuendo

Fermata: a hold of indeterminate length

Repeat mark

Slur or tie

Staccato

Stressed and sustained

Half staccato

Segno: sign from which a repeat is made

A tempo sign in which the first note indicates the unit of the new meter, and the
second note the unit of the preceding meter. The basic pulsaåon in both secåons is

idenåcal.

Portamento, gliding the voice from one note to another

Arpeggio: playing the tones of a chord in rapid succession

Endings: first and second

Indications for use of the sustaining pedal

329
Notes
Notes
Notes
re-s
Notes