CORNELL UNIVERSITY LIBRARY Gift Of Prof. George H. Sabine MUSIC Cornell University Library MT 35.A35 1904 3 1924 022 371 995 ™> Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022371995 EAR TRAINING FOR TEACHER AND PUPIL C A. ALCHIN BOSTON OLIVER DITSON COMPANY NEW YORK CHICAGO Lyon & Healy Chas. H. Ditson & Co. Copyright, MCMIV, by Oliver DifsoN Company INTRODUCTION. The aim of this work is to teach the pupil to think in tones and to so train the ear and the feeling that even the tone-deaf may learn to sing, name, write and play what they hear ; to harmonize melodies at sight, to improvise accompaniments, and to recognize and appreciate not only the melodic effects of music, but the harmonic and rhythmic as well. The voice cannot express what is not felt, and an idiot is the best proof of the fact that skill of hand Soes not reside in the hand alone, but in the mind. Discriminative hearing is indispensable to a musical education, and must precede or accompany all lines of study, that the lessons shall not be like those of a shop or manufactory, — a training of muscle only. Every tone in a key has its special character or color, a distin- guishing melodic effect, aside from the pitch, which is the result of key relationship, and when the pupil perceives these distinctions he has the basis of harmony, which is the natural outgrowth of this system of ear-training. For the advantage of teachers and students who have a prefer- ence, both syllables and interval numbers are used in the exercises. The numbers i, 3, 5, etc., always refer to the degrees of the scale. If the syllables are used, it must be the old system of "Movable Do," for this is a system not of absolute pitch, but of key relation- ship ; the syllables representing not fixed sounds, but the tones of the scale, the names identical with the numbers. Different teachers have different uses for the syllables, and ours is to express key relationship only. If the student already has the "Fixed Do" habit, it would be better to use the numbers IV INTRODUCTION. only, for this work. Isolated tones mean nothing, musically, but related to each other according to a fixed law, they establish what we call key, — one of the essentials of music. Both syllables and numbers should be discontinued in sight-ieading when the relationships for which they stand have been learned and the pupil is able to think and sing the music regardless of names. .The " Fixed Do " is sufficient for merely mechanical work, but wholly useless to the student of instrumental music. Excepting the bene- fit the vocalist derives from the vowel sounds, he might just as well use the letters, since they represent the same sounds as the " Fixed Do." Applying the numbers to the scale or key, we always call the ke;ynote or Tonic "I ", the other intervals being reckoned from it, and not necessarily from middle C. In the same way should the syllable names represent a certain place and relationship in the key group. We have a movable Tonic in Harmony. Why } Because it is wholly a matter of relative, not absolute pitch. Each chord bears a certain relationship to the Tonic, the name for that relationship remaining the same in all keys. If C should always be Do, regardless of key, then the C chord should always be the Tonic chord for the same reason. The identity of pitch is nothing as compared with the melodic effect. 1-2-3-2-1 in the key of C has the same effect on the ear as it would in the key of B. Why should the tune which is remembered as the same in both keys be called by different names .' To think an interval, considering distance only, is vastly different from thinking that interval in a definite relationship. For instance, 3-S of a key, a minor third, feels entirely different when exactly the same tones are sung and thought as 6-8. Think G to D above, as 5-2 of a key and then as 1-5, and note the difference of character resulting from the change of relationship. To see these distances is not enough, their place in key must h&felt. Some teachers are carrying the color scheme much farther, and making that the means of recognition. Both sound and color INTRODUCTION. V being the result of vibrations, it naturally follows that there is a correspondence between them ; but whether it can be used to any great advantage, or not, is a question. I would suggest a possible snare from over-use, as too many things tend to distract the tho,ughts from the real and vital in music ; for instance, blocks, sticks and other unrelated devices that seem to be the fad just at present. The word " theory " is defined by Webster as " A doctrine or scheme of things which terminates in speculations without a view to practice." That is certainly a good definition of the theory of music as it is generally taught. With two or three exceptions, the current systems make it a purely mechanical operation, hindering, rather than developing or cultivating one's musical faculties, the work being done without reference to melody or rhythm, — the two all-important factors that determine the harmony. Think you the great composers wrote an unmelodious bass, and from that worked out the melody and accompanying .voices 1 An exhaustive discussion of Harmony is neither possible nor desirable in a work of this kind, but a conscientious study of the matter included will enable the student to harmonize anything he wishes, and to analyze anything he may study. We do not need composers, but we do need intelligent students, listeners and teachers. ' This is not an "acquired while you sleep" method, making mere play of a great art. It is not for the mentally lazy, but for the earnest, serious student and teacher. To the teacher I would suggest — give some of the work to all of the pupils, all of the work to sdme of the pupils, but not all of the work to all of the pupils. To every one according to his needs, and from every one according to his ability. Most failures result from lack of continued perseverance. The hour that tests both teacher and pupil is that in which the first fervor of an undertaking has waned and the goal seems no nearer than when they began. It is a mark of a really able student to finish what he begins. A prominent writer says, " As things rise VI INTRODUCTION. in the scale of value, the interval between seedtime and harvest must lengthen. Increase of value means increase of time for growth." The idea of the use of the Principle of Progression as a basis of this work was suggested by the " Septonate," a most excellent and comprehensive work by Mr. Julius Klauser, of Milwaukee. Some of the matter is taught by all theorists, but the appli- cation is my own, the result of extensive teaching and an analyt- ical study of the classics. The order in which it is given has been suggested by the development of my pupils. Every effort has been made to condense as briefly as possible, and the success of each step depends upon a thorough understand- ing of the preceding one. The principles are few, but the applica- tions are many. C. A. ALCHIN. CONTENTS. CHAPTER I. Sbotion Pacb I. Rhythm i 14. Sol Introduced 5 16. Key 6 20. Mi Introduced 7 30. Bird Songs 9 37. Dictation Exercises 11 CHAPTER II. 38. Tonal Magnetism 12 41. Cadence 13 42. Re Introduced 13 44. Sight Singing Exercises 14 45. By-Tones 16 48. Melody Writing 17 52. Dictation Exercises 18 CHAPTER III. 53. Ti Introduced 19 54. Sight Singing Exercises 19 55. Intervals from Ti 20 62, Key Drill 22 64, Exercises to be Completed 25 CHAPTER IV. 65. Fa Introduced 26 67. Intervals from Fa 26 69. Key DEELl and Ey-Tones 27 70. Exercises to be Completed 34 71. Piano Studies 35 76. Dictation Exercises 36 vii vui CONTENTS. CHAPTER V. Section Pags 77. La Introduced 4° 81. Sight Singing 40 81. By-Tones 42 82. Intervals from La 42 83. Key Drill 43 84. Dictation Exercises , 50 CHAPTER VI. 86. Passing Tones S3 8q. Auxiliary Tones 54 , 95. Embellishments yj 96. Appoggiatura 57 97. Anticipation Tones 57 98. Suspension and Syncopation ,57 102. Melody Writing 59 108. Examples and Corrections of Faulty Work 6i 120. Melodies to be Completed 65 CHAPTER VIL 123. Hearing Three Tones Simultaneously 70 124. Major and Minor 71 127. Diminished Chords 71 129. Augmented Chords 72 138. Three Positions of the Chords 74 140. Harmonizing Melodies 76 146. Employing Four Voices 77 147. Inversions 78 156. Exercises to be Completed 82 157. Harmonizing Songs 83 160. Dictation Exercises 85 CHAPTER VIII. 163. Supertonic Chord 88 164. Melodies and Songs to be Harmonized 88 165. Dictation Exercises 92 166. Submediant Chord 94 167. Exercises for Playing 95 ' 168. Melodies to be Harmonized 95 i6g. Dictation Exercises 9^ 170. Mediant Chord 98 CONTENTS. IX Sbctioh Page 171. Exercises for Playing 98 172. Songs to be Harmonized 1 • • 99 173. Dictation Exercises 100 174. SuBTONic Chord 102 175. Songs to be Harmonized 103 CHAPTER IX. ,176. Chromatics 104 178. Altered Chords 104 185. Dictation Exercises 108 186. Melodies to be Harmonized in the Minor Mode 109 187. Exercises to be Completed no 189. Fourth of the Scale Raised 112 190. Songs to be Harmonized 113 191. Augmented Sixth Chord 115 192. Fi IN the Diminished Seventh Chord 116 193. Seventh of the Scale Lowered 116 194. Te Employed 117 CHAPTER X. 196. First of the Scale Raised 119 197. Harmonizing Melodies 119 199. Second of the Scale Raised 120 203. Fifth of the Scale Raised 123 206. Sixth of the Scale Raised 124 208. Second of the Scale Lowered 125 209. Fifth of the Scale Lowered 125 210. Summary of Chromatics in Chords 126 211. General Exercises for Harmonic Dictation 126 312. Reduction 132 EAR TRAINING FOR TEACHER AND PUPIL. CHAPTER I, Rhythm — Sol Introduced — Key — Mi Introduced Bird Songs — Dictation Exercises. 1 . Begin with any tone the pupil can sing : the first space F is a good one, for nearly every one can sing both higher and lower. If you want to use the piano, let the teacher sound the F and see if the pupil can remember the tone and find it on the key- board. If he tries two or three times without success, he will have forgotten just how the F sounded, and it will be necessary to hear it again before he can find it. 2. It is sometimes necessary to call the pupil's attention to the difference between a singing and a speaking tone. 3. For a young pupil it is interesting to call it the tone of a bell, the F or Do bell. For a lesson in rhythm, let us ring this bell several times — $ ■jL_«L ringing first with the left hand and then the right, alternating to the end, the left hand making a stronger tone than the right, each time. Next, play or sing two weak tones after each strong one, excepting the last, which is more satisfactory if ended with the strong beat, or pulse, as it is sometimes called. The essential principle of thythm. is the regular recurrence of an interval of time marked off for the ear by the accent. Whether accent generates rhythm or can only be felt after the rhythm is estab- EAR TRAINING. lished, is a question. In either case, the accent is a very impor- tant feature of rhythm, and rhythm is the most important element of music. This grouping of strong and weak pulsts is marli^gd off for the eye by putting a bar before the accented note — 4. Since all English words are rhythmical, it is advisable to use them with pupils who cannot otherwise feel the rhythm. For instance, no one could fail to recognize it in the little sentence, "Merrily, merrily sing." Develop a sense of rhythm through the touch also, by making the tones on your instrument with the same proportion of strength ; that is, emphasizing the same words and syllables as in speaking. Doing this without a change of pitch gives the pupil the opportunity of directing his attention to the one thing only — the rhythm. 5. Write little strokes like this — ^i as you say the words. Should we hold a tone long enough for two strokes, we will place a second mark directly over the first one, like this, O ; and when we add the sterais, which are also made with a stroke downward, we have a half note and a concep- tion of duration that is not acquired by seeing, merely. 6. Begin with the first space F again, and rest one beat after each stroke of the bell, like this : — i W- i 7. How many times does the bell insist upon ringing after the following tones ? m I Tj—i- EAR TRAINING. 8. How will you group these, into a two or a three pulse measure ? 9. We can establish a rhythm and not disturb it in the least by adding more and more notes to a measure, if the accent occurs at the same regular intervals. The measures do not necessarily contain the same number of notes, but they must have the same number of beats. To illustrate : EHTTOia Explain to the beginner that the notes joined together are sung in one beat or pulse, the first bearing a stronger accent than the last, the proportions being about the same as the syllables of the word "lightly." Say the word "light" and then "lightly," and you will notice that one requires about the same interval of time as the other. 10. Teachers will find the use of the syllable "ly" fot a half- pulse a great help in counting, and far preferable to the old "and " which requires too much time and is altogether too strong for the rhythmic feeling. Say "one-ly, two-ly," etc., instead of "one and two and," etc., adding two syllables for triplets as "one-er-y, two- er-y," etc. The life-long habit of speaking the unaccented syl- lables lightly and quickly, makes it quite natural to play them in the same manner. 11. Do not dictate an exercise with less than two accented tones in it. Anything less contains nothing positive in melody, conse- quently is meaningless. Train the pupil to think in groups and he will read much more readily; also to feel the dynamics, which should be taught from the beginning. Develop the feeling of progress from accent to accent, and measure to measure, explaining to the pupil that this feeling of progress is rhythm : not the accent, 4 EAR TRAINING. but the grouping together of strong and weak, — pulse rhythm arising from two or more tones grouped in one pulse ; measure rhythm from two or more pulses in a measure; section rhythm from compounding sections, and so on to the larger groups, as the lines of poetry are grouped into stanzas, — the same alternation of strong and weak in the large as well as the smaller rhythmic groups. 1 2. Add another section to complete these. .17 18 EAR TRAINING. 20 i d=4 :i 3^ 1E3 24 -• — • — •— -• — •-•-• g )— ( g i 4 Fa=g— a 13. Sound F again and then give the tone of another bell — with the voice if possible — if not, with the piano. A musical per- son will always give the third or fifth above, or the fourth below, and after a few experiments the unmusical one decides they are the best. 14. Having selected the C below F for our second bell, note the distance from the F, and the difference in quality. F, the Do bell, is strong and stable ; C, the Sol bell, is strong and bright, but has the quality of progression rather than the stability and repose of the Do tone. The children sometimes call it a " going " tone, and that gives rise to the question, "where is it going .? " Back to Do, of course. Red is the color for Do, and light blue for Sol. Expressing the quaUty with hand signs, we use the fist for Do, and the open hand, palms facing, for Sol. Although it is play for the young pupil, this unity of action and feeling is not a small feature. " Suit the action to the word," is an old principle of value too well known to require discussion. 15. Few teachers have the opportunity for ear training only^ but are obliged to do it in connection with the other lessons, -vyhich is really an advantage if the pupil seems inclined to think of the ear training as something unrelated to his other work. 6 EAR TRAINING. The piano and violin are always a convenience and saving of the teacher's voice, and a saving of time for the pupil because he can apply the ear-training to all of his technical exercises. 16. A key is a family of tones in which Do, also called the " key note," is much more stable than any of the others, and the only tone which expresses absolute repose. Any tone may be the key note. Do, and will possess its own little family, each member the same distance from "the father," as the children sometimes call the Do. For instance, if we have Mr. A for Do, the Sol be- longing to that family will not be the same as the Sol that belongs to Mr. F. or Mr. C, but will be the fourth degree below Do, wher- ever the latter may be ; E the Sol for A, D the Sol for G, B for E, etc. 17. Find the Sol belonging to B. To BI?. Ab. Db, Eb. Fj}, Write and sing each one twice ; the Do three times — using this character for the sharps, a and this for the flats v. 18. Think and sing E as Sol, and then Do above, singing and playing three times for the rhythmical effect : — i w ^m Do the same with each of the following letters, writing as you sing. F, Bb, A, Fjf, E, C, Db, Ab. 19. Writing what one hears trains the sense of sight with that of hearing, and, vice versa, one hears what he sees. When the eye sees and the ear hears, the hand should simulta- neously and without difficulty, /i?^/. As each sense has its own seat of memory, the development of these three solves the ques- tion, of memorizing, and gives the student that much desired ability to know how a thing sounds when he sees it and studies silently. EAR TRAINING. Ear memory is the best, and to that add the mental pktvire of both page and keyboard if you would be absolutely sure. 20. Our next tone will be the third above Do, and is called Mi. In character it is peaceful, the color yellow, and the hand sign open hand with palm down. How far above Do is Mi .? Above Sol ? Below Sol ? Sing or play the Mi belonging to the key of G. To the key of F ; also D. 21. Beginning with the following letters as Sol, sing and write the Mi below. D, C, F, A, G, B, Bt>, Kb, A\>, Dl?. i etc. Beginning with the following letters as Mi, sing and play the Sol above. F| A, C, E>, Df, Ff, G#, B, D. i 5 =* T a *\t ^ ^ g^ etc. 22. Notice the difference between the interval of a third from Do to Mi and that from Mi to Sol: the latter being a dark or minor third, we have a means of distinguishing it from the Do to Mi. 23. How far is Sol above Do ? What kind of a fifth is it ? As each tone would occur in the major scale of the other, the interval may be called "perfect." Hereafter we will also sing from the figures which represent the intervals; that is, Do as i, from which everything is reckoned ; Mi as 3, because it is that number of degrees above Do — i ; and Sol 5, because it is that number of degrees above i. It is only four degrees under Do, but as intervals are always reckoned upward from Do or i, we number the Sol 5 just the same, whether it occurs over or under i m 8 EAR TRAINING. 24, Sol naturally progresses to the Do above, consequently belongs to that particular Do. When we represent our melody by figures instead of the staff notation, we write 5 with a little dash over it to represent the Sol above Do, but no sign when the voice progresses naturally. For instance. I would be I, 5, 3, 5, i. 25. Beginning with each letter, find the three tones — ii 3> S. successively. For example : — i I^S^^^^l fe^=g='--^i^gg- '^ ft --^ ^ etc. 26. Where shall we place the accent on the follow- ing: 51315131? Sing them. Omit the i and sing S 3 1-5 3 I- Place the accent first and then sing S35153SI, also 353x351. Write these in four keys. 27. Begiiming on various tones, the teacher should play alternately major and minor thirds to see if the pupil can name the intervals. It seems more difficult to recognize the intervals when the voices progress downward, than it does from the lower tones up. 28. Think F as i and sing 3 above. (Do-Mi-Do.) Think C as 29. Some people aim at everything and hit nothing. Direct your energies to one thing at a time and do not leave it until some degree of success has been acquired, returning to the weak points again and again, until the mastery is thorough and complete. 3 " " S " (Mi-Sol-Mi.) 5 " "3 " (Sol-Mi-Sol-Mi-Do.) 3 " "I below. (Mi-Do-Mi-Do.) 5 and sing 3 " (Sol-Mi-Sol-Mi.) it <( « T (( (Sol-Do-Sol-Do.) 5 " "I above. (Sol-Do-Sol-Do.) EAR TRAINING. d 30. The cuckoo sings two of these tones. See if the pupil can tell what they are : Cuck -oo,Cuck-oo. 31 . The quail sings, " Bob-White " ; name the tones. ^^^^B 32. There is a little bird in Michigan that appears at sunset and sings, i ^5 ^ " Whip-poor-will, Whip-poor-will." 33. Early in the morning the little Tufted Titmouse notifies you of his locality by his emphatic little song, i ^i " Here, here, here." While another warbler says. lYz 8 \*- S u " Twohee-e - e - e - e " " Twohee-e - e - e - e." 34. Who has not heard the Carolina Wren call, m w m " Sweet-heart,Sweet-heart." At the same time of the year the Meadow Lark announces the ever welcome and cheering news, fe3 = g ^^a W- =^ " Spring is here,Springis here." 10 EAR TRAINING. Another little fellow says, iE m X i " What cheer ? What ? What ? What ? 35. Write these bird songs in three or four keys. As they are pitched so high, the staff representation will be better if the added lines and spaces are used. " In the keys," means cer- tain letters for Do, not necessarily to begin on. For instance, if ,we want the key of A for the cuckoo song, A is to be Do, and the song will begin on C|, the third above Do. The pupil should name the notes of each bird song as the teacher plays it. 36. If the teacher is training in classes, have one pupil sing I, while another sings 3, and another 5. Beginning with 3 add 5 and I, and with 5 add i and 3, as: — tg,^,^- The children love this, and the harmony aids in the development of key feeling which is such an important factor in ear-training. If the pupil is just learning to read music, have him play and write these in four different places on the staff, like this : — R.H. ^ I m i R.H. L.H. etc. W- L.H. Playing them will help much in acquiring a free arm that should precede finger technique. When you begin with 3 or 5, be sure to think the tones as 3 s i (Mi Sol Do,) or 5 i 3, (Sol Do Mi,) and not simply the letters — E G C, etc. It is a great mistake to begin every thing with Do ; one should be able to hear, think, and know how to proceed from any tone. EAR TRAINING. 11 37. Tell what bird songs you hear in the following, and write them as the teacher plays them — gJ i Lr Lj Lrl l^^^i^a 5?=f=5) iE i g "m *=n i i ^^^^^» ?E=:=5i it=«: -I — S- =8=307 Elt^Si^^ -9»- I CHAPTER II. Tonal Magnetism — Cadence — Re Introduced — Sight Singing Exercises — By-Tones — Melody Writing. 38. All tones have the quality either of repose or progression, — what- might be termed tonal magnetism, because of the strong tendency certain tones have to move in certain directions to the nearest tone of repose. Strictly speaking, we should say the voice moves, but we use the term " going tones." because it seems more definite in quality to the young pupil. 39. The repose tones, i and 3, are the magnets, the former attracting 5, 6, 7 and 2 of the scale, while the latter attracts 2 and 4 only. In the example below you will notice that C, the key-note, attracts every tone excepting the F in the last ■example, which progressed to E, the third of the key. i i EE Following the line of least resistance, all tones of a key resolve into Do and Mi, — i and 3. 40. The fifth has a synthetic quality, partaking of that with which it is combined : that of repose when combined with i and 3 in the tonic chord, and of progression when combined with 3 and 5 of the domihant chord. It also has the quality of repose in a lesser degree when it occurs simultaneously with a rhythmic point. For instance, Chopin. ^M 35 X ^m § 12 EAR TRAINING. 13 41. When a repose tone and the accent occur simultaneously, the effect is a completed group or idea, and such a close is called a cadence. (a) (6) {c) a. i IE =F=^ In (d) the first example above, C, the repose tone, falls on the accented part of the measure, and the result is a cadence. In {b) the repose tone, E, falls on the unaccented part of the measure, and as the unaccented pulses always progress to the accented, the feeling of rhythmic progression is stronger than the repose quality of E, the Mi, consequently there is no cadence or feeling of completion. The small boy understands the case perfectly by comparing the rhythmic flow or motion to the current of the river which.cis so strong it carries large bodies with it, seemingly without resistance. The rhythmic current has more influence than the quality of the tone, so we are carried on to the next accented point. The same principle applies to the next example, (c). 42. Let the teacher sing Do, Re, i and 2 of the scale, and the pupil find the resolution of Re ; to what magnet does it move .' Does Mi also attract it ? Sing it both ways — i 2 i, and 123. Which is the most satisfactory cadence .? What is the character of Re, hopeful and bright, or sad and gentle 1 Hopeful, and the color is orange, easily changed to red or yellow. The hand-sign, palm slanting upward. 43. Sing and write Re in connection with all of the old tones, approaching it from each successively. Do Re Do, 121. Do Re Mi, 123, then combining the two : — I 2 3 2 I. Now begin with Mi, singing Mi Re Mi, 323, and Mi Re Do, 32 i. Next approach Re from Sol, and see which you like better, Sol Re Mi, or Sol Re Do. After a leap larger than a third, the voice should proceed in the opposite direction, 14 EAR TRAINING. hence the first example, S 2 3, is the better. If we sing Sol and Re. above, for the same reason the voice will progress to Do. Sing 1251. 1251, accenting the Re in both cases ,: which is the better? How many degrees is it from Re up to Sol } From Re down to Sol .-' What kind of a fifth .? Sing 1213251, and tell which tones should be accented. 3251. 3251. 35 251. 2321. 2521. 2551. 35251. Singing from the figures compels one to think the tones independent of their position on the staff, a process quite necessary and very helpful to one whose sense of hearing is much less keen than that of Seeing. 44. As the pupil sings the following exercises, the teacher should play the Tonic chord with repose or " magnet " tones, and the Dominant chord with the progression tones. It accentuates the character of the tones and helps to establish the harmonic sense which should be cultivated from the beginning. The pupil can play the chords if sufficiently advanced to do so. i 1= * * 3 Ir ^^i^ss»^sa ii= 5 w -si- Do Re Do 6 7 8 9 ^^^^^^ ^^^^m^^ jgp 15 1 16 ^ ^jjgp -#-' •^ I I 19 EAR TRAINING. 20 15 21 i ^^ :1: E=^ i^i^a 22 fe 23 24 P ^ #J^^^IJj ^^ y—rr 25 26 27 a^j^irr i jJ i Jj affi^^fa Mri:~ze 28 i 29 30 P ^i^ »~" * 31 32 33 34 35 36 37 38 39 i ^i^^^ IE ^^: =F — r 41 tzziz*zjt 40 42 ^qsa gj^^^a ^Eg^^-jj^j^i 48 44 45 U * T*" 16 EAR TRAINING. 47 48 49 i W- 3 I — T*^ =F#==^ g5^S it; 45. When a progression tone is sung with the repose har- mony, or a repose tone with the progression harmony, we will call such tones " by-tones." Any tone foreign to the harmony then presiding, may be called a by-tone. For example, — i h ■Gh-r I Re is a by-tone in the first measure because the presiding quality of the measure is the repose harmony. Mi is a by-tone in the second measure because it is a repose tone in a progression measure. 46. Name the by-tones in the following : I ?=H^ S i ^a St ^ ^ !«!=:*: |J |j r|j ntju^ a ^ -1— r ^ JfTjgTJj ;s^ 1 EAR TRAINING. 47. Sing these, beginning on the various tones as the syl- lables indicate : ^ t "m ^ Sol, Do. Re, Sol. V^ i m \-^E^ ^tt=t^ ■Sh^ Re, Mi. Mi. i s 6 fe ^ d *■ -=*-i Re. Sol. ^m^^ 8 # I J f \o Do. Sol. i 10 1 Sol. Re. 11 12 ^Sol. m Re. fei^fea »=3=3E 48. Following the principle of tonal magnetism, supply the vacant places in these little melodies, using only the four tones we have had, — 123 and 5. i 3 i m i^et 4. ' 4^ fffi y 18 EAR TRAINING. 49. Let the pupil write melodies to short sentences ; for instance, See my great big dog. See my pussy cat. See my pretty rose. Patter, patter, falls the rain. Jingle, jingle, sleigh- bells ring. Gently, so gently the snowflakes come down, etc. An adult pupil can select sentences of a different sentimen,t ; any quotation that is rhythmical will do. Feel the rhythm of the words first, exaggerating the accent or emphasis of the words, and after the melody is made, try it in different keys to see if the thought can be better expressed in any particular key. 50. If the piano is used with these, develop in the fingers the feeling for quality ; for instance, smooth fur, delicate roses, the lightness of the snowflakes, etc. The ear should be just as sen- sitive to quality as to pitch — a fact sometimes lost sight of in the multiplicity of things the pupil has to learn. Train to simple, natural expression, for that is true art and the best method of cultivating a beautiful, sympathetic touch. A child can retain a melody with words much more readily than one without them, but his thought is not wholly directed to the melody itself, and he is not called upon to discriminate as closely or to exercise his imagination. Music is something that tran- scends speech, and beyond the first simple stages, is belittled by the effort to ex^jress it in words. Cultivate the imagination, the spiritual element, and the feeling for beauty, that words may not be needed to give it meaning. 51. An exercise should never be too long for a pupil to think in its entirety, either in dictation or at the instrument. To develop a feeling or appreciation of the larger rhythms and general effect, one must cultivate the habit of thinking in groups, not in unrelated, isolated tones. Playing or singing note by note as some pupils do, is really pitiful. 52. For a lesson in dictation, the teacher can play the exer- cises of § 44 and the pupil name or write. CHAPTER III. Ti Introduced — Sight Singing Exercises — Intervals FROM Ti — Exercises to be Completed. 53. Now let us sing the first tone below Do, the seventh of the scale, called Ti. Color, violet ; the hand-sign, index finger pointing upward, because that is the direction in which the tone naturally progresses. 54. Sing Do Ti Do, 171. Do Ti Do Re Do, i 7 i 2 i. 3 7 I 2 I. 571. 571. I I 2 7 I I. I I 7 2 I I. I I 2 5 7 I I. i|72|S7|i. i|27|s7|i. i|72|s7|i. 3721. 37521. 5721. 712 I. 752 I. 7321. 7253, 72 I I 3 1 5 7~ I I- 1= *= i 1= 1= SB 3 ■*zji. 6 i ^ g^ w 8 Ftsfe tf ,9 ^ mE^^s^^^m^^^^ 10 i 1 i* At 11 m^i^m *-' — • 14 r— - n -rM — t ^^^ 19 20 15 EAJi TRAININU. 16 i 1 .aJii II ^ 17 18 a teTF \m ^^ ?3= 19 1=^ ^ -.■*a-r a' ai 3^ PJE? ;icgj ^ W < l -«'< i i 20 gF^^^ ^, I r^ _+-^5;. ^m^ ifznt 21 s t iE *—»!-* 56. How far is Ti above Sol ? What kind of a third ? What other major third have you sung ? Think G — B as Sol — Ti, and sing — ^ sfffe T=^ ^2- ■X 5 7 I As Do Mi, 7 5 i F^l I II I i I 56. Think Cjf — A as Mi — Do, and sing — ^gjg * fe 3 I 5 The same as Ti — Sol, i *^ tF^ I* *= EAR TRAINING. 21 57. How far is Ti belp.w Re ? What kind of a third ? Have we found a minor third before? Think A — FjJ as Re — Ti> and sing — i t iE ♦=3t ?^ S I --¥^ -^ 2 7 The same letters again as Sol ■ ■Mi. i W ' ¥ \ i¥ - P I 68. Think G — Bt^. as Ti — Re, and sing i 721 The same again as Mi — Sol, ^- s i w --U- tM= n gj j-J-bJ-J^ 9n Ti Sol Mi Do 18 EAR TKAINJKG. 19 2a ^-!Li4Lj:;iJpj^ ip^g^^^p^§ Sol Mi 20 20 21 : j !:iM5J: ^^E5^E^^^ B Ti Re 22 Ti 23 ^^^iS^S P U-t Mi Sol 24 i w :&c^ 25 Re ReTi 26 27 Sol Mi Re Ti * Sol Mi 28 29 ^^i^^^ :S5 =#«t Sol 30 Re 31 ^^ Do ^ Sol ^ 32 33 34 f =f 4H=i p ^ £^^ ^Hfeg ^^Fp a Sol 35 Re Sol 36 *^ Do :ta: i^-^ i 35= --^-fi-0 3tztMt ^ i: ii^iE^^ Sol 24 37 EAR TRAINING'. 38 i ^ =w ?5' i Jtiz Mi 39 Mi 40 m 11 Sol 42 Re 43 m ^ I * ? ■ eg ^ E^ Sol 44 Re 45 3 Ip I b , P cife ^L_H W i^ Ti 46 Mi 47 •^ Ti Mi ' Ti 48 i ip I a ^ tej =s Ti Select from the preceding exercises for the lessons in dic- tation, marking those of which the pupil seems uncertain, and use them again and again until he is quite sure. Test his feeling for *the rhythm very often. Point out the by-tones in the following exercises : %j d: i^i i^ I m ^^ %-k 6 ^^1^^^ EAR TRAINING. 25 In the last two exercises the A in the second measure is a by-tone, because the progression quality prevails. The change of quality should occur on the accent, hence A, (Do), is a by-tone. The same thing occurs in the next exercise. t-U±[iA^ lM 8 I ^— J— * 64. Complete these, employing Ti in each : 1 2 ^ tSi a 3 i *5=^»F -•-aH I ^^ 6 S W I fe^ S CHAPTER IV. Fa Introduced — Exercises to be Completed — Piano Studies — Dictation Exercises. 65. We will now sing a tone that progresses to the other '♦magnet," Mi. Like Ti, it is a minor degree from its "magnet," but unlike Ti, it is a down-leader; that is, it progresses down to a cadence, instead of up, as Ti does. The name of this new tone is Fa ; the color is green ; the hand-sign, index finger pomting downward. Sing Mi Fa Mi, and then Mi Fa Do, and you will readily see to which "magnet " Fa belongs. 66. Following the scheme of the preceding lessons, combin- ing the tones — first the repose to progression and progression to repose, then progression to progression, — let us sing. Do Fa Mi, 143. Do Fa Do, 141. Mi Fa Mi. Sol Fa Mi. Do Re Mi Fa Mi. Do Mi Sol Fa Mi. 1543421. 1543243. 1543. 15543. 5243. Now placing the accent on the progression tones : — 123 I. 13243. 1353243- 1543251. 35443. 35471. 1524321. 15423. 15- 43221. 3435251. 343|257| I. 35421. 343|2S2|i. 353|252|342|i. 351I747I1. 471232 I. 353|234l3-2|i. 3|4S2|i. 52 4|342|i. 5|42|3i|25|i. 67. How far above Do is Fa .' What kind of a fourth ? What other perfect fourth have you sung } Think G and C as I 4, and sing 143. Think the same letters as 2 5, and sing 2543. Think C as Do and G below as Sol, and sing Do Sol Re Do. The same letters as Sol Re and sing Sol Re Fa Mi. 26 EAR TKAINING. 27 Think G as i and sing 121. G as 3 and sing 343. 353. G as I again and sing 131. i 2 3 2 i G as 3 and sing 3454 3- 3421. 68. How far is Fa above Re? What kind of a third? What other mmor third have you sung ? Think A C as ^ 5 and sing 3 S 4 4 3- Think the same letters as 2 4 and sing 24321. Singing both figures and syllables lends variety to the work as well as to fix the distances and individuality of tones, and the change of keys compels one to think the .character and exact relationship of the tones in key. 69. Sing a few of these with the chord accompaniment as indicated. The new tone calls for a new chord, the Subdominant, and if both progression chords are employed, the Subdominant should precede the Dominant. :^t^^-i-j^ : ^ 3 jEg ^^^ I -g^ sy I IV I I IV I I IV I V I 6 g 1= ^ =^ ^¥1 I J 10 1==?* i !i 11 ii^ 12 i ^ IH 28 13 EAR TRAINING, 14 15 ^^fl 1 4—»—'—'^ Do 16 Sol Re 17 ?TP=F ^rTyT77^^^ :;^ il ^y Ti 18 Sol 19 i ^iJ-j^^lf , J^ il W^^^ Do 20 Re Ti 21 i ^^^g^ *-»-^ ^ ^ ^^: E^ Sol i ^ f-pf ^ j»-i- »- i "F^^^ P^ t^ 22 ^ E^ I "^ Do ^*^ i^^^^^ i ^ ^ i=d=f= ?c=-«^= — ft ^ -z:! ^ 23 SeS »Ei I • • Re 24 25 ^^ =5^ Ti ¥ :t?2i D^ i '26 EAk TRAINING, 27 29 hff J U .r:^ij: a ^^^ rf¥Ff^^^ ^ B Sol 28 Mi 29 ^-^ Fa • Do ' Fa 30 31 i Do ?c=3=^ r*-=Si Sol 32 33 i i^e ^i=^ T^-W- W- Fa Do ^-T^rr^^F^^rT-^ ^^aE^P^^ B 34 35 i ^ ^^ifi ^^E^ f T i^f'~7=^ 5^ i Fa Do 36 i ^=::S=p?fE ^EES'— ^E=1?J — ^*^^5. — I j Re 37 Fa ^ 38 ^1 ^=g^^f^t=f^¥= g iE 39 Do Re a !5i: :p=&: 40 Fa ao ^^ EAR TRAINING. 42 g-^^i-ffpif^ a ^Tb ^i^» g aii Ti 43 Mi 44 f^f rir J ju^f^f^^ r i ^^^^^M l i Ti Mi Ti 45 46 bffl L. I t'pg 11 ?cfe=5c?&zfi 5g= H-|^-^ =W 9=^r-^^ ^--p-U-f ^^i *\ e i . H-» Ti 86 Sol 87 Fa 88 iEEE^ -•— P- I EAU TRAINING. 90 33 89 90 "^ Fa ^rT '•*" ;gs= ■*-hb Fa 91 92 i :12P= 2F==^ ?^ 1 ^ — I 'rTf ^ I 5^E U=^ Sol 93 Re 94 i^^"^^ i W • z^ Mi 95 96 i ^^^mm ist i2ti?^ ■J-^bsi- Re 97 Fa 98 i Do Re Point out the by-tones ; i iS I W=f=f=i -Ti * # -i^— •■ I^ 3 ^m ^ ^gj^a iEaEf! ■s^- i=?^^=5^ t^^=t^=t^ i 4 ^^m -et-T- 5 1^ -4 4 • ^ v» — H W- -p p- 34 EAR TRAINING. 6 Armand i ^. F4=3==^ ■1/ — » ^ ^ -» i i §=?= is ?==* -i^— * -sH-jS- ♦=bi!: Nageli. i ;64 ^^^S f^^ -• — *- t Bte i -d *- 8 Gluck. ^^ ss $ #-| r? » -|-H-p-»- t=F=ftrp=^a_,-etc, f= — ^-^^?» t4: iW 70. Keeping in mind the principle of progression, let the pupil supply the notes that are needed to complete the following exer- cises, employing Fa — the fourth — in each. Think and feel from, accent to accent, using the tones having the least resistance to the progress from one rhythmic point to another. i 1 ■^ N^ i^Et ■3*- 3 fl^g^ 1 i i i-r-p- 4=t te^ ^ l=#F -• — •- w zsm EAR 7RAINING. 35 71. If the pupil is a beginner with the piano, ask what he hears in every exercise that he plays ; not every tone, but always something. For instance, in Gurlitt, Op. 187, first find the places for punctuation ; whether a comma, interrogation point, or period, using the former for the weak cadence of a small group, the latter for a perfect cadence — Do on the accented places, — and an interrogation point when the cadence ends with a progression tone. If at the same time one can hear the several tones of the melody, so much the better ; if not, play it again and perhaps hear the I 3 and 5 only. In this Gurlitt. Op. 187 i m =t i IE =(= note the first tone in each of the first four measures, then the same in the answer — the four measures following. Knowing those so well, perhaps you can tell what occurred between them. 72. In the next one, r p ^- ES IY-. It i :t ^ X W * we hear the familiar 135, and follow the key-track to the comma point in the second measure ; the Mi seems to prevail in the next group. 73, In the next exercise. i i =p=?c -» » I F • - It _(Si;_ -n — 1*- I I i 36 BAR TRAINING. the first group contains the simple tones, 12321, Do on the first accent, Re on the second, and Mi the next strong accent, the voice returning immediately to Do for the next, which completes the phrase. Leaping one degree higher than Mi, we begin the next phrase with Fa and end it with Sol, a rising cadence. We use the term "rising," because Sol, the final cadence tone, is a pro- gression tone, giving the effect of an interrogation point. 74. In this next one we hear i 2 3 2 i again, but differently arranged. It is a three-pulse measure, and the first tone is length- ened so as to bring the highest tone, 3, on the accented place.. The second group proceeds in the same way up three degrees and back again, but beginning on Re, and the third, is the same begin- ning with Mi. We might designate these as the Do, Re, and Mi phrases. i ^ I W- 75. This next one can be analyzed in the same way, hearing' first a Mi group, then a Fa and a Sol, finishing with the two tones that progress downward. ^ f 3E i 76. These suggestions have been given, not for the teacher to give to the pupil, but what the teacher should expect from the pupil. Besides compelling him to listen, it is invaluable in developing con- centration and retentiveness. Instead of asking what he hears,, frequently insist upon his telling you just how to remember the study. The teacher should play the dictation exercises in various keys and the pupil write them in the same, sometimes following the teacher note by note as he hears them, and sometimes after the entire exercise has been played. EAR TRAINING. 37 In addition to the following, selections should be made from the preceding exercises as before. ^^^ r ^ -aV^^r ^ s^^ ^ i Ta J J I f J i a5fe^=F-^f.^-^^=B= fl Schumann. ft^^^^^ EJgEg i r r r r i r-rrr ^^^^rtr-^^l^^=f=Nf^^ i|»H Mozart. gj l^-Tf r rir?rf d d • * feES ^^SE^^ I ^ Haydn. i • ii g .^ s ^ P L^ r I r >ir 6 * 9v4r ri i f iEiSE ^^^e^ 38 EAR TRAINING. i I a . L jL J w 4-^ d * \ ■ei — M~-» 8 i teE^ *-s ^^^1 ^ •* ^ 9 Beethoven. g^ ^^ i ^^ -^ -!*- j=j ^' ' ^ ^ m I b 1 ^*<=- 10 Brahms. ^ ^^ #.^^^^ -^ ^ fc^ ^ I Bach. 12 ^4 r r 4— [g=^ Mozart. S S g ^ -^ ^ ^ i EAR TRAINING. 39 Mozart. • O • iVlU^AKT. 14 ^= H^^\ \ jiJ- :^^M4-r^=^=^ IS p^^^ Bach. ^^#^f^^^ 16 to f^iif r i j ;. i ;.JJi-j:ggij=^aB£ a CHAPTER V. La Introduced — Intervals from La — D-ictation Exercises. 77. La, the sixth of the scale, is the only tone that does not progress directly to either of the repose tones, Do or Mi. The line of least resistance is to Sol and then to Do. The quality is more serious and reverential than other tones, the color, dark blue ; the hand-sign, palm drooping downward. 78. Sing the following exercises and you will readily see the necessity of combining another progression tone with it to make a satisfactory cadence. Iq^ r- ii better not good. better. Rj^jji i Jjjn i=3C 79. La can be sung with the same harmony as Fa, and combin- ing the two (Fa and La), with Do, we have a chord that progresses down to the Do or repose chord. 80. Has the pupil noticed that the three tones progressing to Do could be combined and make a chord that progresses up to the Do chord .' Heretofore the reference to the chords by name has been intended for the teacher, in case the pupil was a beginner ; from this time the pupil should know and play them, calling them by the root names — Do, Fa, and Sol, or by the names Tonic, Sub- dominant, and Dominant. 81. Sing these with the chord accompaniment : i i# 1 f=-#- I IV IV V 40 IV ^ ^AMM'i EAR TRAINING. 5 6 41 fFr^ ^ E i gz^^s^t^i^ g i I g I IV V I IV I 8 9 10 ^ m i 11 12 13 ^fe^brrTW^S a Vf^yrfl 14 15 16 i ^^^^^^^^ ^E 17 18 f " J r rUff ^sj^M fftJaj itt^f i iifffP 19 20 ^ lt-|-|-|L-,. ez Ttt b i # ?^ 21 22 23 24 ItfW ir l ^ ^^^^H ■-^ f^ 25 26 i?^ i^ 3=3= i^ ^ 42 EAR TRAINING. Point out the by-tones in these : 27 Armand. i £s * a * ^ E e at* ^=^=i t^ 28 Armand. S -z^- -ei—\~ I i t ^' -^ Se^ T^: •- 54 Re i * 55 Ti SgJ p i«==s -Ti- 56 i ^f^ ■• — p- =P=^lv- a — ~ ^=s= ;bEE Mi -^^- * H-^ ^^-^F — »— ^— i — r T ~ -l*-^» * . 1 1 ^^ 15^ 57 i^i^ siP i *—T^ - t^ :#-^ ■*^t-* ^f*-- 3Ej^ Do 58 59 '^ Fa La ithal: i 60 61 Re Ep Sol 60 EAR TRAINING. 62 Ti IE 84. In the dictation exercises that follow, hear the rhythmic and harmonic scheme. Note first whether section responds to section, line to line, or two lines to two ; then name the harmony felt in each section or measure, that is, whether progression or repose. 1 Schumann. i T-^— * B3 i=?=?c: Pe i ^ ^ — p * I - * * p uu\ I -F — •- i^^^^ i E^ f-F!^ i :i; Schumann. 5i=F= P=?c: ^ e *: i ^« — p- t=x iE * f » ^"=F!°- F=f — »— ^-f f -» f r ?^ i= F — P — ^ F= rTr r =e ^^ EAR TRAINING. 51 i %i I Schumann. g^^ m ^^^=& S M l=r^?=^ ^^^S t=^ Mozart. Si f-F-^ ^^ ^ ^^^^ isz- i ^=j — #-f#-^-^^-^ I ?=^^=^ -4 — * -«<-=■ ^ Reinecke. i ^e: ^ -«>-i — •- k^ -n B5 ^ 6 Schumann. fe^--^-l4-iV : ^H^-'-fd- 1 ^^:^i^^ # ^^^^p^ i = ^ I 1^ ^ ^*=ti B±S -«=3i -A — 1-! ^ Tf?r^^ 52 £AIl TRAINIl^ii. ^ ^S^ -f^ I f 8 Gluck. i^^^^^P s p^^^^ ■•— p- 4- U^^ i d- d m^ 9 From Chopin. *^^^ *£:?^E ?^M3 9=fTf^i^ E^ i§ S^^^^S:^^^ ^^=r=r I ^ ' I 10 Mendelssohn. *5S -■— ^- a w m^ rii^ -•—d- ■*-! — H-*- ^ at=» ;^ J^7 l J J.J'N-Jj CHAPTER VI. Passing and Auxiliary Tones — The Appoggiatura — Sus- pensions — Syncopations — Melody Writing. 85. It would be well at this point if the pupil would undertake some larger tasks in original writing. A little melody invention develops the creative faculties with the receptive, and gives an understanding of melodic construction that no other experience affords. It trains one's ear to hear not only a few important points, but a myriad of little things that help to make good or bad music. For convenience of expression, we will specialize in the matter of by-tones, having used, here-to-fore, the one term for all non- chordal tones. 86. Simple passing by-tones are those occurring between two harmonics, as A and C in the first measure, and B and G of the second, in the example below. ^^ 4^ P=^ I I V 87. When a second passing note follows the first, as in (3), it should proceed in the same direction to another harmonic, and not return to the first, as in (c). (6) (^) 88. A passing tone may be taken by step from one harmony note, and proceed by leap of a third to another harmony note. ^^ ^ 53 54 EAR TRAINING. 89. When the voice moves one degree and returns to the same harmonic, the by-tone is called an auxiliary tone. * §E^^^. I I * V I * IV If, instead of returning to the harmonic immediately, it leaps a third to another auxiliary note on the opposite side of the harmonic, and then returns to the harmonic between the two, the auxiliary tones are then called, "changing tones." They change from an auxiliary tone above, to one below, or vice versa. iiss^HiEE In this example, B is the auxiliary tone, and instead of returnr ing immediately to C, the voice leaps to D, the auxiliary aboVe, and then returns to C, so they are " changing tones." D and B are the same in the next group, with the order reversed. 90. Point out the passing and auxiliary tones in the follow- ing : — ' ^^^^^^^1 i ps ■^2- 3 Bach. Bach, E^5 SE BE 5 izat '^m -IS — etc. 5 Pi EAJi TRAINING. •-I^»- 55 Bach. ^^^fe^etc. ^3Et tS itt*: In exercise 2 think a change of harmony on the accent of the second measure, and C becomes the by-tone, B the harmonic. 91. The student should write a few exercises of this kind, and immediately the question will arise, which of the two changing notes should ,be first ? The last changing note will occur on the half accent and should not be the same as the following accented note, because it would weaken the effect of the latter ; consequently, the lower changing note should be used first if the voice is to move downward one 'de- gree, and the upper changing note first if the voice moves upward one degree to the accented note. To illustrate : In both examples C and A are the auxiliary notes, and one has only to play them to realize which is preferable. 92. If the voice leaps a third to the accented note, instead of a second, the first changing note will be in the opposite direction from the course to the accented note. For example : (a) (-5) (c) {d) Those at {b) and (d) are not good because the voice leaps after con- junct motion to an accented note in the same direction. Then too, taking the accented and half accented notes in succession as a melodic outline, see how much better the progression is at (a) and (f), than at (b). (a) Kb) (c) i 1 S3= =5^ I 56 EAK TSAI.VING. 93. Restating the matter briefly, if the voice moves one degree to the accented note, the first cha^nging note will be in the same direction. If the voice leaps to a third, the first changing note should be in the opposite direction. 94. If we wish the fourth note of the group to be another harmonic instead of a repetition of the first, one may be employed at a distance of a third, the second changing note leaping to a degree beyond the desired harmonic, then returning to it. 95. A thorough understanding of this work will enable the pupil to solve many difificulties that he meets in trills, turns, mor- dents, etc., and it would be a good plan to embellish some simple figures as suggested below. i i i FfH^^^S IS i i w m m i ■j^-* g^sEEj i^ ^ p^^^^ ^^^^^ I jgz^Mj -J-^ff^^g^g IE r » etc. ^^ g^ EAR TRAINING. 57 i 96. A by-tone approached by leap, is called an Appoggiatura. ' — ■_ Chopin. Nocturne. m: =P=i; ^ ^ m ^^ ^ tt^ 97. The by-tone anticipating the harmonic of the following accented tone is called an anticipation tone. Bach. i EE 3: I :U;^ ife x^^3es ^^^ I ^ 98. Syncopation is the binding of two similar notes so that the accent naturally belonging to the second, falls upon the first. When the note carried over is a by-tone, it is called a suspension It is delayed resolution, the reverse of anticipation. 99. Suspensions can be felt in one voice by thinking the ac- cented tone as a by-tone. For example ; g i i IE one feels a change of harmony on the first beat of the second measure, which converts that tone into a by-tone, and the same thing occurs in the fourth and sixth measures. In this case. i i i i the same quality continues through the measure in which the note is carried over, and we have a disturbance of the meter or rhyth- mic balance only, so it is a syncopation, and not a suspension, excepting F in the sixth measure. 58 EAR TRAINING. 100. To the teachers who are accustomed to treat this subject at a later stage, it may seem out of place here, but in the author's opinion, it seems wise to introduce it before the work grows more complicated, and experience has proven that, prepared as we are by the preceding lessons, we do not need three or four voices to demonstrate it. 101. Point out the syncopations and suspensions in the following : Beethoven. ^M ^ m -Bt — a* tr ^^ .L=i: eEt it? ^^. ^ §!^£ ! H ^ ^-r—r—r^r -^ ^ i P- fe^4=r. =t=:a: 'i£-fJ--»-t,»-: ^ ^J^l J^ i— j^^n^3=^ etc. =gi^ 8^ EAR TRAINING. 69 — ±*C-J!:i-_£ §^ly# PE 3 i^ H I ^ i ] WiDOR. ^ ^ ^^fT^^^^ ^^ etc. =F=i= JH: Lar f I ^E^ Beethoven. ^4 ^pa ?^rc^ ^?^ J^ i u_^ >-J- il I =ft3 ^^ i^^^ 1 02. It is often said that melodies are " God-given," but a few suggestions will help us both to write and to hear. The all-important thing is the principle of progression, both melodic and rhythmic, and the relation of the two. 103. Excepting the first tone of a melody when it is unaccented, it is better to make Xhs following accented tone different in quality from the preceding weak one. For instance, the first exercise might be written. g § but the following is much better, because there is a change of quality on each accented beat. I Tones of a similar character frequently occur in two or more consecutive measures when a rapid tempo is desired; for example : 60 EAR TRAINING. Invitation to tlie Dance : Weber, . fJ - ^t-^-^(L-ff^^ s r4"fr~i~ i^ -*- H?- I i * t * i g^^ ^ ^ ^^^ It ? ^^ Ctrt ^ t^^ ? * I i^ s^ >J N* f= f- Consecutive degrees are always good, but for commanding, vigor- ous and powerful effects, more leaps are employed. Note this in particular. After two or more consecutive degrees, it is not good to leap in the same direction to an accented tone. Make the leap to an unaccented, or in the opposite direction to an accented. For example : i bad. good. bad. i ^gamtmn good* f-f . \ T f •- 3E etc. S ^ 104. This leap may occur when the voice progresses to a by- tone as in this from Tchaikovsky : ^^g^^^^ 105. If a voice leaps more than a third, it should proceed to a tone within, and not beyond the interval taken. For instance : i J II J r r IH =f=^ w- EAR TRAINING. 61 This suggestion applies to tones within a phrase, not necessarily to the larger rhythms. One may find many instances where the voices do not so progress, especially when the melody follows the chord intervals, but the exceptions are few, compared to the num- ber of times the rule is observed. 106. A leap larger than a sixth should be approached and left in a direction contrary to the leap itself. For example : i i ■^-^ 107. Classify the tones of a key into two planes ; the upper including Fa, Mi, Re, Do ; the lower, Sol, La, Ti and Do. A voice naturally resolves in its own plane, and after a leap from one plane to the other, the tendency is always to return or move in the direction of the plane just quitted. 108. It may be an assistance to see some of the faulty work of pupils, and the corrections. i {a) W M a ^ ^iHFQt^ r W The Bl? in the second measure of {a) is the fourth of the scale. Fa, and should have progressed to A, the third of the key. In (b) the progression to F, at the close is not good after the leap of a fifth from D to G. If desirous of closing with that particular tone, to have moved as in (c) would have been better. 109. Paragraph 105 explains the error in this one. The example at (t:) suggests the entire phrase on the line of least resistance, and in a different rhythm. Which is preferable ? i (a) 1 minor to a major : a Dt? minor to a diminished. 132. Pupils can simplify this work by classifying the tones into three relationships, calling those of the diatonic scale, tones of th& first relationship ; the chromatics that resolve into them, tones of the second relationship, and the chromatics which resolve into those of the second, the tones of the third relationship. For instance, in the key of C, Fj{ resolves into G and is a tone of the second relationship : Fjlfft resolves into G^ — a tone of the second relationship : so the F|}J| is a tone of the third relationship. 133. Intervals that may be augmented or diminished resolve into tones of the first relationship when so altered, and such changes do not necessarily change the key, but tones of the third relation- ship do ; and when the modulation has been effected they become EAR TRAINING. 73 tones of the second relationship. Tke third and seventh of a key should not be augmented because they would not resolve into a tone of the first relationship. For the same reason, certain tones cannot be flatted. Find them. Many students of composition do not understand why they are not allowed to employ a double sharp or flat for a diminished third. Following this Principle of Progression, letting both chromatics progress to a tone of the first relationship, the question is easily and satisfactorily settled. Note the examples below. * fa-jzi t'zr-^^ =tf 3SI ibsi Maj. Min. Dim. I 134. Now write as many different chords as you can, contain- ing a given tone. For example, see the number of chords that may include E. Do this with every letter within the octave, for it is one thing: to find a few chords in the key of C, and quite another to find themi in all of the keys ; and doing it quickly without trying several times before finding the desired one. Listening for combinations you will note that the thirds and sixths are much more harmonious than the fourths and fifths, whrchi sound empty. 135. Name these, stating whether major, minor, diminished, or augmented. i ■^'. -^ -^T -^i 3*5 -3^3 J^ -Jf — -^^ — 9 -p — i?p- What has been added to these thirds .' fe S^- rj?d2g i tes ^ a ej p — g — -g- 74 EAR TRAINING. Although this is not intended as an exhaustive text book of Harmony, there is a considerable work required of the pupil, be- cause in the author's experience it is the best means of becoming familiar with the chords. Nothing clears up one's ideas like doing the thing one's self. For the convenience of those who do not care to study the preceding chapters, some explanations are included which are quite unnecessary for those who have. 136. The resolution of the chords is based upon the Principle of Progression, the same as in single voice. The chord built on the first note of the scale, Do, is called the "Tonic" or "Do" chord, and is designated by the Roman numeral I, because of its place in key. The distinguishing quality is its absolute repose, a quality possessed by no other chord. 137. The chord that has the strongest demand for the Tonic — that is, the strongest tendency for progression to it — is based on the fifth of the scale and is called the " Dominant" or "Sol" chord. The ear recognizes it by the immediate demand for the Tonic, the two chords together making the most satisfactory cadence, termed the authentic cadence. 138. Find the three positions of the Tonic and Dominant in each key, always closing with the Tonic, as — i « — IS. — «_^^ ^„ , ^aJk/s—O— gj a — etc. ^: n 25TI25— zsr- •&— »-S'-"-£-r-^-^'-£r(tg-£r 139. To simply string chords together according to some figured bass without reference to either melody or rhythm is both meaningless and useless. Melody and Rhythm generate and deter- mine Harmony, not an unmelodious, un-rhythmical "bass which necessitates rules galore telling the student what he cannot do, and making the work purely mechanical. Guided by the melody and the law of progression both rhythmic and melodic, but few rules are necessary. 140. Harmonizing this little figure. EAR TRAINING. '75 w- note first, the tones of progression and repose, and place them in chords of a similar quality. Of course we will place C in a C chord, but not D in a D chord. Why .' Because the D chord progressing to the Tonic does not make a good cadence. We have just learned that the Dominant does, and as Re, the second of the scale occurs in that chord, we will employ it and meet both the melodic and rhythmic demands. In other words, a tone does not necessarily generate its own harmony, but is placed in a chord that will progress (on the line of least resistance) to the next accented chord, which, in this instance, is the Tonic — the magnet of the entire key group. i i 141. In paragraph 13, we learned that Sol progressed up to Do, and we find that the chord of which Sol is the root, does also ; but in this case, to keep the melody in the upper voice we are obliged to let the voices that move at all, progress downward ; and to establish or feel the demand for the downward progression, we employ F, the seventh of the chordy which, being a minor, is a down leader. Briefly stated, a minor seventh added to a chord creates or strengthens the downward progression of the voices. Now you know why and when to use it. In the following exercise the voices progress up to the Tonic, so the seventh should not be em- ployed. . With each new chord one should learn how and when to use it. By so doing he will grow familiar with the sound of it in its rela- tion to other chords, and that is really the only way to know them, since a chord has neither character nor meaning without key rela- tionship, (excepting the little that is felt from its mode). 76 EAR TRAINING. 142. Harmonize these little exercises, employing only the two chords we have had, — Tonic and Dominant — and write them, in- dicating the degree on which the chord is built by the Roman numerals. Keep the melody in the upper voice of the chords and that will necessitate many changes of position. 1 2 3 i 1= 1 I I TT V -w I 6 i i i 1 rsi 8 9 i 1 I 10 i *= 11 1 ;t liE3E -t-g^ tr ' ' B 143. Another chord that demands the Tonic is that built on the fourth degree of the scale, Fa, and called the Sub-dominant. Unlike the Dominant, it is a down-leader, and does not demand immediate resolution. Its character is serious and sombre, rather than bold and aggressive like the Sol. If the melody demands a down-leader to the final cadence chord, the Sub-dominant is em- ployed, providing the melody tone occurs in that chord. It was not used in the example at 140, because the melody tone, Re, does not occur in a Sub-dominant chord. 1 44. These three chords — Tonic, Dominant and Sub-dominant — include all of the tones of the major scale, and they are the only major chords, that, without alteration, occur in a major key. It would be well for the student to play these chords in the three positions with each scale that he studies. For instance, if he is practicing the F scale, practice the F arpeggio and as many chords as he knows in the key of F, aiso. EAR TRAINING. 11 Let the teacher play I-V-I, and I-IV-I, in different keys and positions to see if the pupil can recognize them. 145. Harmonize the following exercises, employing the three chords, keeping the melody in the upper voice, and transpose them into three flat and three sharp keys. .12 3 g -ap- IE e£ IV I IV V I 5 I IV i IV V IV 6 V 8 i 1 S II IV V V 9 10 11 1 I t^ 12 13 i -^- ^- rp=r=it W s±^ I IV V Write them with the root tones in the bass, like this : i tr — «>- i :g S- -251- I i i 146. We found that both the Dominant and Sub-dominant chords demanded the Tonic, and now we will reverse the order and make the Tonic demand them by employing other than the root in the bass ; the fifth to demand the Dominant and the seventh to de- mand the Sub-dominant. The first inversion of the Tonic chord — the third in the bass — also makes a very smooth progression to the Sub-dominant chord, almost demands it, one might say. As a 78 EAR TRAINING. major third should not be doubled, that is, occur in two voices at the same time, it is omitted in the chord when employed in the bass, as : 9t i i It may be doubled in a minor, and should be in a diminished. The root and fifth may be doubled excepting the root in the diminished chord. 147. Working on a different principle, we have no use for the figured bass as taught in current methods. It is confusing to the student to writ^ the figure 6 over a bass note when it is the third of the chord, or to play it from that figure, and I is still more puzzling. With this system there is no reason why the figures should not correspond to the location of that tone in the chord, and we will employ that simple means, indicating the Tonic chord with the third in the bass by i, with the fifth in the bass by i, etc. 3 6 If the student finds it easier, he can indicate the inversions by the letters a b c and d. 148. Using some of the patterns of the preceding lesson, we will learn to use and hear the chords with the different inversions. Employ the third of the chord in the bass for variation when the chord occurs two or more times in succession, as at («) below ; where the change of harmony is temporary only, as at (b) ; at the end of a phrase or line where a Tonic chord is necessary and a perfect cadence undesirable, as at (c). EAR TRAINING. 79 149. The fifth of any chord in the bass changes the progression of the chord to that of which the fifth is the root. For example : (a) i 1 k (b) W (d) 1 i I i B3*3si5 IV s 1 ■« — <9 — fi- at {a) the 5 under the G chord indicates that the fifth of the chord (not the key) is to be employed in the bass, and that creates an immediate demand for progression back to the D chord. With the root in the, bass, the G chord might have progressed to an A chord first, and then to the D, as at (3). In example (b) the first Tonic chord has the fifth of the chord, A, in the bass and is immediately followed by an A chord. In ex- ample {c) the Dominant chord. A, naturally progresses to the Tonic, D. Play it as in {d) with the fifth of the Dominant chord in the bass, and it progresses to an E chord, not the Tonic as in the pre- ceding example. As it is most frequently employed to extend and strengthen the cadence, it suggests a new Tonic when occurring in any but the I and IV. 150. The Tonic chord with a minor seventh in the bass demands the Sub-dominant third, — IV — because Ti, the seventh of the key, being flatted, becomes a down-leader and resolves into La, the sbcth of the key, which is the third of the Sub-dominant chord. i dE :^sz etc. I I ^ ly 80 EAR TRAINING. 151 . It is sometimes difficult for the ear to distinguish between the I and the V — the Tonic fifth and the Dominant — because 6 they both have the Dominant root in the bass, and both demand a cadence. Note this : I always demands two chords, the V and I, while 6 the V demands I only. A more important fact is that I usually occurs on a stronger beat than the V, and never on a weaker one. See examples : t i \ i ^r\^ \ i i LsD e I -&- i 152. Wagner frequently employed the I to establish the key 6 for his sudden modulations, and that one chord does estabhsti the key, for with it we anticipate the V and I which will always fix a key. Note the use of it in the extract from Lohengrin : ^ ^^^^^fapjfe^ D I 6 V gagej^gs^^ ^ feg — »- jS^ ^^f^ ^^ §s Ai?ii 3 i EAR TRAINING. 81 153. The exception to the rule for the resolution of a chord with the fifth in the lower voice, is, when the minor seventh is present ; in that case it has the same resolution as though the root were in the bass. See example : Beethoven. ^ Mm^h ^^^ A ^=fJ ^ etc. I * -=1-- 154. A chord may be identified by what it demands; as mentioned once before, the word "demand" is used to express the effect of tonal magnetism, showing how the chords naturally re- solve. Of course they may and do resolve otherwise, but the reso- lution of which we speak is on the line of least resistance," always correct, and a very important feature in helping both to recognize and to use. Summarizing this law, we have V to I. IV to I in a lesser degree. V may occur between IV and I, but IV between V and I is not good. I to V. I to IV. IV to I. IV to I. S 7b 3 5 8 S 155 Let the teacher play the following for the student to name, and the student should also play them to familiarize himself not only with the chords, but with the characters that represent them. The figure above the Roman numeral indicates the tone of the chord to be employed in the upper voice, and the long dash i continuation of the chord through another beat. Be sure to play them rhythmically. I-V-I. I-IV-V-I. !-IV-V-I. I-I-IV- 7 8 7 V-I. I-V-I. 3 8 5 7 I_.V-I-V-I. 7 S S I^V-I-IV-I-V-I. I-V,-I-IV-I- 8 6 S 8 6 82 EAR TRAINING. v-i. i-v-i-iv-i-v-i. i-v-i-iv-i-v-i; i-iv-i-i-iv-v-i. SS 6 7, 3 6 58 I_V-I-IV-I-V-I. I_V,-I-IV-V_-I. I-I_IV-V-I. 5S 63 b7 3 We must emphasize the importance of writing and playing in every key. The number of people who can play chords in the key of C only, are legion. 166. Complete the following exercises : te i 4z*zr5: ■«i— #- ifeis I M i i sa a p5g i S= 4=«=i i 6 li^ ^ 3eie? ^ ga:^ ra i b4 ! J - m p 8 m-n-s^ =1^ I ^E =ftBf T ^ g_ i EAR TRAINING. 83 9 ii i I P§^-f ^^S =?cr=i: % \U1 . There are many little songs that require but these three chords in the accompaniment, and it would be both profitable and pleasurable to make a practical application of this work by making one's own accompaniment. Sing and harmonize them at sight, making the simplest harmonic outline at first, if necessary, and later, change the positions of the chords as desired. 158. In the song of " Jack-in-the-Pulpit," the chords employed on the accented beats of the first two measures may be I-I-IV-I, 3 or I-I-IV— I : and V-I in the fifth and sixth measures. 3 7 8 Follow the progression from measure to measure, or, better yet, from line to line, changing the iass on the accented beats, allowing any by-tones that may occur between the accented points to be treated as such, not changing the harmony as the tones of the melody change. For instance, the Y% in the second measure is foreign to the Sub-dominant harmony then presiding ; let it occur as a by-tone and do not change the harmony until the next beat, which is an accented one. Jack - in X ^ the - pul - pit Preach as to day, ^ iE :^ ^^ 3E Un - der the green trees, Just o - ver the way ; 1^ ^= E^= ^ Green is his sur - plice, Green are his bands, In his 84 EAR TRAINING. $ h^=fi I m i E^ queer lit tie pul - pit, The lit - tie priest stands. 159. In the second measure of "Baby Land," the change of harmony is not permanent, that is, it does not continue through the measure, so one of the inversions — IV or I — would be best. 6 3 The next line of the song beginning at the third measure, would be in pleasant contrast to the first line by employing I for the first 3 two tones. The last three of the measure will of course be sung with the Dominant harmony, and as the change of harmony must occur on the accented beat, the G becomes a by-tone. The Dominant harmony should not be repeated in the next — the fourth — measure, but a Tonic should be employed, for the harmony occuring on an accented beat should not be anticipated on the pre- ceding weak beat. The root position would make the wrong quality of cadence for an interrogative sentence, but I would be s very satisfactory. What position of the Dominant chord should be taken to create the demand for I ? Marking the harmony of each a accented beat from the beginning, it would be I-I-IV-I, I-V-I, S 3 7 3 V-V-I-I, I-V-I. 6 p=4J=^4=J^Jj^iPE£^ ^ How ma- ny miles to Ba by Land?Say, can an - y one tell? one flight to . the rightjPlease to ring the bell. The pupils who have studied the one-voice work of the pre- ceding lessons with care will have no difficulty in feeling the larger groups and the correct harmonic progressions. EAJi TRAINING. 85 160. WHERE THEY GROW. i J. H. Fillmore. ^; P^^^^ Down the val ley, deep, deep, deep. i i lYz Where n lit - tie sun beams wink and peep. f ». 1 ^ K N ^ • • 1 \ P ' J • J i \ i — 4 — < • 1 [ir^_ - • 1 Un der the grass - es hid ing low, i -:^ i ^ w- '■^sm There's where the * Used by permission. dear lit tie lets grow. Reinecke. i * m^ S=i ii=a; ^ Up - on the blooming meadow, A flow - 'ret may be seen. Its - ^ — ?. — F^ — s- ?-E£ i: ^= • — *- eyes are blue asHeav-en, Its leaves are fresh and green; Its ^± ^ ^ -^- ^^^ eyes are blue as Heav-en, Its leaves are fresh and green. Exercises for dictation. The pupils should name the chords as the teacher plays them. 1 2 3 t?=d=4= i fc i ^m =5= :gg1-g- -ar- -Sa — ^ffl-tg O- ^ i 86 EAR TRAINING. 5 6 i E^ -J= i V- -iS- m eS i i5i : ^ 1 ^ -«!- =S^ -s- 5-ta: £ jfi « ^a. 1 i gsi^ fct i 8 :ii;=2?ei II 1 =f= =p li^S :i gizfc 9 10 fi^^^^^^g -gi — s i i -g | - g j - <5 ^ iV a> - Wj -IS'- -<=- ^ i s=^ -jsf- 11 i J-JzzcJ 12 i^^ 13 '^^^ -SI, — s!- a=S=g=EB:rfcEi=IE=g=Sii i^i (2 fg I W . ^ gi-fc ±=&=t e> — s> ^^- — isl- 14 15 i^=:fe^^ii|Ei^=^^^^i FS=?= i 5— <^ -(2 «>- iS EAR TRAINING. 87 16 i i -=!l 17 EE^ ^^^ =^ i:^=a: -g' i-i' — 3 S 3" :i— 1z -iC- :t;=:^ -&- -s>- -ZJH -g- !l^ I ie^ -(2 «-- :t=F -si- 18 w==k I p -sla- -zster- iSi i 1 §E* -s^- -(»- 19 -isl— ^^ — -sf 20 .g:rt2: - ^^m =& ^ i2^ E^ -f= — s>~ Eg I 90 EAR TRAINING. 20 ^ ^- 1^^^ -^- 1. Dear lit - tie bios - soms down un - der the snow, 2. Lit tie white snow -drops, I pray you a rise, i w r- EifeE You must be wea - ry of win - ter I know; Bright yel - low cro - cus, come o - pen your eyes; i ^^ r- =t: Hark ! While I sing you a mes - sage of cheer, Daf fo dils! Daf fo dils ! Say, do you hear? i Ei^ ::t Sum mer com - mg Spring-time is here. 21 I * =i=F'f I paSEESf Eg; -gj- -ti: n 3 22 g 5=?i= ^: a iOES^EE^EE; W=T^ i=¥^ I 5=t - €) lt- \-6t- Vy I7B 23 E^ifc ^ t=1- -•— I- IV 9 -<=i- V — 5 7 ■ »|— g^ - II7 V -S'-r- 24 Schubert. migl^pg^ ^pigg^gggg^ a= i m A streamlet clear and sun - ny. With rip-pies all a - bout, Was N — i ^^^ rg3S ifc=t once the bath for bon - ny. For gen - tie lit - tie trout. On EAR THAINING. 91 ^ ^E^ ^^=^=|^^eSee^ i u shore I stood ob - serv - ing With exquis - ite de - light The -N N N I SSEiE £ -»i — * -ji=^- hap - py lit- tie crea - ture, It was a prat - ty sight; The m. iii^EiiE^ S^t^EgEEtE Z3Li.-=*—-J hap - py lit tie crea - ture, It was a pret - ty sight. 25 Schubert. nfe f^^^mm i\—» :8: ;siS !• — •- -I 1 F •' W^ ^ Be side the brook grow flow-'rets blue Which peep thro' drops of i tt ip=ii =rpf ^E^".^^ :?«=¥= t=^: s=t:=s:-tt^- spark -ling dew: The mil - ler much this stream doth prize. And fefe eseeeS s^^fs :t* -^ light blue shine my fair one's eyes. So mine I ^^^1 W—^ P— • r-^-M 7"-i — r- h ■?=^3=E ^ i=^="^- call these flow - ers, 26 ^ Ml So mine I call these flow-ers. Reinecke. ^ E^a=tjE -fc— 5 5*— ^- -fc-ii I'm a pret-ty lit - tie thing, Al- ways com - ing with the ^M 3! ^^ =&=S: -V — K- V S- :^=±:t -t^ — H- -V — s-- spring; In the mea-dows green I'm found, Peeping just a-bove the m ^ii33 I -5- — &■ ^^^^. SE!F ?!-?■ -• — •■ ground; And my stalk is covered flat With a white and yellow hat. 92 EAR TRAINING. 27 Schumann. ^^i =^^- ■=^- Wt=- ^^^^^ ^- tz^'-zt. i Come, la - dy bird, and seat your -self up - on my hand, up g ^^jq^^^ gl^^ m on my hand,Be sure I will not harm you, No! I'll not i 4-=^ ^^^^^^^ ^=s= p harm you, I will not harm you,pret-ty dear,Show your tiny wings and ^^^ I i -5. &>- -& — &• ^B£S h ^- 28 nev - er fear, Ti - ny wings so gay and pret - ty. Schumann. ^ £ » — N — i^ =^ f^^^ Hark!from thefor -est calls the cuc-koo,Light - ly he's swinging, ^^^^^^^^m Gai - ly he's sing- ing, Gai-ly he's swinging and sing - ing. ^ PJ^^^^^^ Spring-time, Wel-come to you,Spring-time, welcome to you. 165. Dictation including the Supertonic chord. Remember, that a chord may be identified by what it demands. 1 ' . Reinecke. p^^^^ ^^^m l^E^ itrt ^ EAU TRAINING. 2 93 Schumann. ^a^iiia^^^^i w-r -3T i =i=p= I m-(3- E etc. I 9^ ^^^ |=E^ T^F Reinecke. ^^^^#^^^"^111 tr^^r- f^r=r=^ -•— F=Fi 1— i= -^ -^ -^i t=|: -fi _^ I §5:g^ :t=t=r=:t :U:=:tt ^ : J=bJ.-j-Hr^J=j : Haydn. E^S ^=F^ f- J 1 j- =^E §5^ ■S'-^ iE i f- iN^E^ . J i i -i i a* Mendelssohn. 94 EAR TRAINING. 6 tt Schumann. -^^^^m. \-i 3^^ 1 tt 3^ ^ ^ i itrii Handel. »#= ^i^tEaiS^ :J=5 tEQ s j:i.-f-_j QT-^^v ^ip^l^ii^^^i^ eS ^g^^ s _,_L^. r^-^ 1 v -^ J=t=^t=r=fc3 -• » — 8- I I P= ^ -^ i fe :b "O ■f- V a^-^f^ r' r' rir=je ± S 166. Next comes the Submediant or "La" chord, built on the sixth of the scale ; it progresses equally well to both the Sub- dominant and Supertonic, and being the substitute for the Tonic, it is most frequently employed to delay the cadence. The Submediant and Supertonic are both minor chords, but they may be distinguished by the different demands for progres- sion, as well as chord quality. The Submediant is much more stable than the Supertonic, and does not lead to a cadence, bui EAR TRAINING. 95 of tetter front it, while the Supertonic demands the Dominant, a cadence chord. Briefly stated, VI leads from, and II leads to a cadence. Note the use of VI as a substitute in the following example : M fel^ Doxology. I P* -ib- etc. PE I izt I Bach. ^^0 =* p=S=l=t=5==5 Pt5 HH g-i- 4^^ r- r 167. Combining the Submediant with each of the preceding chords, play, — I_vi-IV-V-I. I-vi-ii-V-I. I-vi-IV-ii-I-V-I. I-V7-VI-11-I- 3 s V-I. l_V-I-vi-ii^-V-I. f_IV-vi-I-I-II-V-I. I-IV-V1-II7- 8 S 3 3 5 3 V-I-V-I. I-V-I-ii-vi-IV-V-I. I-V-I-ii-vi-II-V-I. I-vi- 7 3 6 3 3 3 V-I-n7-V-I. 8 3 168. Harmonize these, employing the Submediant in each. 1 ? gl-gl fcfc «= gS BfSlPp^ ■s^- g ^ VI III II III VI 6 m m ±=± i ■^=-(Sl s — e>- ■ri — ztf- t=t: VI II7 III VI VI 8 II, i i^ s I ■s»—\r St — s ^ -'g — s<- ■gi— h^- 9 III ■s- — zi—^^ 10 5| ■»g— jg— ^ pSiEE? p^^is J — - w ' es — Cie— n -fa- -A i EAR TRAINING. 103 175. Harmonize these, employing the Subtonic in each. 1 2 i 11^ ^=i= giB i^ ■si— 'g^ ^ - gl — g- -s(— - VIlO 3 tg= i i g ■(= S"- ■|2 Si- -!i--\-<^ t=F 8 Schumann. /i o ^ ^ ^ U ^ ! ^ !■ n ^ ^ ll* ^I'I-j! -h — -— * • ^^ — -J-: ^ D fs c K-* -J L.,^ ^ ^-^ • • i. ^ When chil dren lay them down to sleep, two &= E^= Efe^E ^ zr—*- an - gels come their watch to keep, Cov'r-ing them up i r * -ft — r m -N N safe - ly and warm. Ten - der -ly shield - ing them from harm. The student should continue the work of harmonizing melodies until he acquires not only the ability to do it correctly, but facility , also. For this purpose many desirable melodies can be found in the various collections of children's songs issued by the publishers of this book. CHAPTER IX. Chromatics — Altered Chords — Fourth of the Scale Raised — Augmented Sixth Chord — Seventh of THE Scale Lowered. 176. We will now return to single voice work and include chromatics, which will be a finer comparison of sounds. It will furnish a good test of the thoroughness of the preceding lessons, for upon the certainty of the diatonics, depends the certainty of singing and recognizing the chromatics. 177. The altered tones may occur as embellishing by-tones, or as harmonics, to change the character of the chord : in the latter case, the Principle of Progression must be carefully consid- ered, because the chord is sometimes so altered it loses its original character and can be identified only by what it demands. 178. Altered chords should move to a principal chord of thekey. If the student does not easily recognize them, playing the chords as they would have been without the alterations will be an aid, although not always sure, because the composers have not been particular with their notation ; sometimes writing i^ for 6 , \% for 2I?, and ^ for 4I is a very common error. All things consid- ered, the Principle of Progression is the most reliable and satis- factory basis for both employment and identification. 179. When a seventh chord has neither the characteristics of the Dominant or a diminished chord, nine times out of ten it will be a supertonic seventh, because the latter is used that much oftener than the other secondary sevenths. The tendency for all of the altered chords is toward the major chords of the key. 180. Most analysts follow the old methods and consider the chromatic alterations as modulations, and by so doing, lose most of the charm of the harmonic setting. Altered chords suggest a 104 EAR TRAINING. 105 rich coloring that is lost with the constant shifting of keys, because in establishing a new key, the II-V-I or IV-V-I must be employed, and consequently there is much less variety. As the chromatics are introduced, examples of the most fre- quent use will be given, but of course it would be impossible to mention many rare cases. For a more extended study of this subject, the student would find both profit and pleasure in a work entitled, " Harmonic Analysis," by Benjamin Cutter, published by the Oliver Ditson Co. When one realizes that music is a matter of ear 2ind feeling, it is really astonishing that teachers and stu- dents give so little attention and expend so little of their time and energy on this most important feature of music education. The pianist, in particular, needs more of mind and less of muscle, more of feeling and less of finger. 181. We will begin with the lowered 3d called Me, (pro- nounced may), which is one of the two tones employed to estab- lish the minor mode of a key. Combining it with other tones of. a key, sing i 3I? i. i 3b 2 2 i. i 3b 2 5 i. i 3I? 5 3!? 2: 3b I. I 3b 2 4 3^ 2 I. I 4 3b 2 I. I I 3 3^^ I 2 5 I I. I I 3 3b' I 2 4 I 3 2 I I. I S 3!^ I 2-4 I 3b-2 I I. I S 3b I 7 2 r. I 7 3b 2 I. 3b 2 4 3b 2 s I. 3b I 4 3b 2 2 I. 3b 4 5 3b 2 7 I. I 3b 2 s I. 31^ 7 I 2 5 I. i h. tf i w- P=:p=^— J-S 3Et Do sol me etc. ^BE^d^^ ^^aL^J,J3^ 3^^ 33t ^ gE^gE^^ggSgg ^l 106 EAR TRAINING. *A ^s^^^^^^^^^m ^ I 1 ?Et:£ i!!L=|*=iat -j^=X m i 6 r=a=pc^j: =pa»r^ f^i^SSB ^53t: ^E^^E =t=^^tf i ^: ElE:^; ;^= feSaEEii *-=L-t-.r:=^E-:=z=tJK=-'-3E^z=E Grieg. -1- — F I Me do 182. The other flat employed to fix the minor key is that of the sixth, called Le, which makes one change of intervals in each scale-half ; the mode of any chord containing either of these tones is necessarily changed. For instance, the third occurs in the Tonic, Submediant and Mediant chords, and the sixth in the Sub- dominant, Submediant and Supertonic. 183. Sing 5 6b 5. i gb 5. 3 6^ 5. 2 6|7 5. 4 6b 5. 7 6b 5. I 6b s 3b 2 s I. 3b 6b 5 4 3b 2 I. 5 6b s 3b 2 5 I. 3b 6b 5 4 3b 2 I. I 6b 6 7 I. 3b F 7 6b 5 4 3b 2 I. I 3b 6b 7 I. I 3b 6b 4.2 5 I. P^^f^' 3=g ^Bfc^ g 2 Sol le f=M=±^-=Mi m 3 ^ -al-g*— ^^- --w=^. =^3^^J^E i 3E? 3E5 5t ^ EAR TRAINING. 107 i ^= F 6<=1=;: li^^^i^B Schumann. ^ -^ P- -sH D minor. • ^- -f=- -^ •- =t=E I fefefE^:^ SHI SI Schumann. I i4: f=^ E minor. 6 F* 3^ ^y- a ^=^ J2^ :?s=^±i2i fzt&it tut iI^=iS5 i==ii=&^ ip= m ^i 3f ■25l- S^^^E^EE^ IE ^^i^^g^^isi^^ 9 Wagner. i % i ^=i^ srt etc. i^jt 10 Reinecke. Pi^lg ^aEB3 ipaw s 3=1= itd±* I 108 EAR TRAINING. 1 84. Sing these in both modes : 1 2 fe =Ffr-=^^i^^fF^%=^ fe:feg^ aia 3 M # ftid^t £h i=j =m^=g g=^^^^ i fe i =^ i i ^' ■w=t~ ■^'A- r^^^E itz:i -P=:S: -^— ^* i 6 1-. :i=p= ^^^^ *— • ■ ig 4 »- rf-¥^^^^^^^^ ^; ■»^-*- •i^-#- fe^^^^ i fg — (g— -# 185. Write these as the teacher plays them : 1 Schum ann. la ^^ _' W -ft I r-y ^ i -I— t- A minor. ^^^^^ w ' ^ Bach. G minor, i H7-r— '^' EAR TRAINING. 109 ;E^ tl?^ :t=t I ss ?Ci=*- i^l ffl <-j- -*-V \ — ztf- Beethoven. ^=^5^"^^ jJElJetc. if?i^'^^±i|*J=^t=^t'ti:i|^=J ^ 186. Harmonize these : * 1 2 C mi. I C mi. C mi. C mi. I 4 i g^ 5t I -<= — «■ -(=— ra- Ami. I Vs a 5 6 A mi. Vt I 5 8 German Choral. li^i^. *==t :#t=3^ - • — 1<- f- — (•■ Ea^ G mi. i S^^^HfSFfSEf ii^i^g 5^ ¥=^ w i 7 Schumann. s=e3E ^ ^_^=M-^— ^= -•-T lt=«t Tt±± E mi. pjggg^^^gaig^^^ipa 4" Nearly all of the exercises in paragraphs 14s, 145, and 164 can be harmonized in the minor mode. 110 EAR TRAINING. 187. Finish these with suitable cadences : I_ii . i_ii . I_I . 1-1 _ 3 3 8 i_iio_i_v — . i-iii — . i-iii — . i-iir- 3 ' 8 I_iv , i_iv . I-vi . I-VI . I-vi . i-VI . __. I_II . ._. I_IV-- s I_vii° . I-VI I . n°-I — -. ii-II . ii°-II-- 8 3 3 8 ii_III . ii_iv . ii°-iv . ii-iv . II-VI-- s II-vi . II-VI-. n°-VI . ii-vii" . II- VII- - s II- VII . iii-I . iii-i . iii-ii . iii-IV — 8 3 3 8 III-IV . III-V . iii-V . III-vi . III-VI— 7 iii-vii . iii-VII . III-VI . vi-I , VI-1I-- 3 3 5 vi_II . VI-II .■ VI-ii . VI-III . VI-III-- 3 8 VI-III . vi-V . vi-vii° . VI-vii° . VI- VII- - 3 3 3 3 vii°-I . vii°-ii . VII-II-. — . VII-II, . vii°-III— VII-III . vii°-IV . vii°-V . vii°-vi— 3 S vii°-vi . vii°-VI . vii°-VI I-ii . S 3 3 3 3 3 vir-vi-- 3 188. Dictation in minor keys. fe^ :??= ■•— ,^ ^ Schumann. i^ i -4—(S- etc i ii^Em^^i^i^^ m V ^-*Tr-*# ft-^-f— I V I IV D minor. I EAR TRAINING. Ill Bach. ^ M Si^a siE 3=r « — • — 4 — • U' -•- -p- etc i±E L#i: iEfEi^ s #=i=F •I — iiF- H ^F-«- :F=i1 3 J. fi^fiizz^iU Mozart. fei^ s :$E ^f j-j- i*te ^EE -s--- :t=E 1 aq I ^-f^^-ttf'l-^tff'rr '~=?^"^^^^ w^^- -j^ — It E^f Bach. ^ Jzat ^i ^ — I I ' 1-^ 3=:1^ -^ 4- 94# i J :!:= :ii=t i -H-^— 3^?*3r S =P=t* 3^ i etc ^tjE^S^^ g^JE^JE^^^ ^H 112 iE ^m EAR TRAINING — I— Schubert. g=gEfeEgE^^g *-T r r -iA^Ll:d=i =p » 'rr r $ :^^^^l^^ r n- ^^ft^ -iS-^ "— r r |j-:i^— l^-jj— -^— j^-l^— ^^ r^j-- ^^ ^1 f=r f- r 6 Handel. i to' ^^ i^ aS^ P=^ ■T m ^ ^ I — ■— g i 4a& -I, , - ^3. pa*^=pj5fsf3f ( *:& *E etc. I Pf^s: 189. Sing these, calling the raised 4th " Fi." 15 44 3- 3 5 4K 5 3- 3 4 S 4 3- 1524543. 36 4#5i. i|74|6|5i4|3-2|i. 1742542 i. EAR TRAINING. iia 16425123-21. I 4 6 S. I I 2 4 6 I 5 4 3 I s 4 4_^2 I I. I I 4# 7 6 I 5- 2 I I. I 3b 4 5. I J2 I 3 4^5 6_4 I 5 I 3 I 2- s I. I 3b 4jf s 6t» s 7 I. I 6b 4 5 6b s 7 I. .1, ^E ^g^3^ ^3 HB # -\i •■ ■ Fi « gt#j^^fe^l^E^E|^E^E^EaE% ^ Wagner. i ^^Si (^ — «- :ffl — cpgygzcg. ^i ^^^sii :^=f=5i ^=tf^=E^^ r-+-ii ^ — 'g- feE^^^j^g g=Cf j =C=fr=^|J^^= ^fl Schubert. ^^^^^^^^s^^^ 190. Harmonize these and you will note that Fi usually occurs in the Supertonic chord, — the substitutional harmony of the tone altered. S E^ l« S^^Pi I III IV I II V I IV II aa^s I 114 3 EAR TRAINING. 4 VI II VI II II i^ i s F=5 ■/=- -gi- ^=^ V 117 s s V 7 Reinecke. feE :f^ 1=dE S ?=^ 3(zt Wea-ri - ly at day-light's cIose,Lit-tle eyelids seek re - pose; Lord.as i ^ i s^ here in bed I lie, Watch me with a Fa - ther's eye. Abt. ^ -t -m — * ■ ■•— •- *=dz:i=±!^ ♦=t Calm night had stol - en on, The world to rest had gone, The i ^ IE =P birds had ceased their glad songs,The bees to hum their sad songsjThe i^ ^ ^1 i^ moon in splen-dor shone. And sailed the skies a lone. 8 Reinecke. i 2E 5^ 11-=^^ -P=E 3^ =t *=5= P-t^ The blue-bell rings ado wn the vale A mer-ry chime, so fine and fesii^^^e ^ -^ w %- clear; Come join the dance, Let no one fail, Ye lit-tle dar - ling flow-ers EAR TRAINING. 115 i i^ m- f=i£:^ w— r -h °=^5E g B3: Ss fair! The flow'rets,yel-low, white and blue.Coiiie peeping out in bright ar- i h ^ =F=F^^ ?^ m p^ ray, For-get--me- not and speedwell too. A host of flow - ersgay. 191. Employing Fi in the minor key, we have a triad consisting of one diminished third and one major third : i ^ In the first inversion, iE^it becomes an augmented sixth. a very troublesome chord for the pupils of the old school, although there is no reason why it should be. Regard it as an altered ii or IV, for in either case it progresses to V, or I-V. The effect is the same where combined with Le in a major key. A Reinecke. i tc, f ■ rrr v-^ e3^. -(= — cg,. i-^ V- -1^ fe t •b:i- ?E etc. E ^ VI m Franck. ^ r — f — T — r -w z± I etc. iSteii =^ =#F E 116 EAR TRAINING. Beethoven. ^^^ IB ffl ■zsj to, g^ |^i^g=i=t^==J=t3=H^±:^ §Jte$E5E ^ — a^ — •^ — ^ _^__^ g r^ J T -«- P-«>- I 192. Fi is frequently combined with Me in a diminished seventh chord, resolving into the Dominant or Tonic fifth : Schumann. i fc^ ifiE£ n Z2 etc. Lfe i m feg^: s «=x=:* ^^- Beethoven. S :33 "i<~» r ••■ — •« — < F I aa ; ' a i — «- etc is^ M 193. We will now lower the seventh, calling it " Te." Into what does it resolve ? Sing I I 7 7i? I 6 2 I I 7 I I. i 7!? 6 61? s 7 i. 3 7!? 6 5 421. I 7b 6 et' 5 2 I. s 7b 6 4 3-2-1. 5 7b 6 4 3 2 I. 4 7b 6 I 7 2 I. 2 7b 6 eb s 4 3. I 7b 6b s 4 3b 2 I. 3b 7b 6b 5 4 3b 2 I. I 4# S 7b 6 7 I. I 4# 7b 6-7 I. EAR TFtAINlNiO, 117 Sing by syllable : m $ \p. ^- i w^=^ -tH— ^ — ^ tt a is^a^ ^g^^^^^^^^E^ g lsM=M^ gl^^^^i % EEEE -!•—•- 3 ^^^^-gfe^^^ g^ ^-EEE itj-^ P -^ — »=^ i^ ■•—I — F-= — m — s> Melodic minor scale ; 4 i r- W ^ Do te le 194. Harmonize these, and you will notice that Te usually oc- curs in the Tonic chord, demanding IV. 9 g i gpB 3-1" — m^»- qcziz ?=5i 1= — •-Ff2^ P="«- w 4zM M :P=§i= M= Szta It ^ti5i n ;^=i^ ■•-=- i 195 Te in a I demands IV. Te in I demands II, the substitute S 1$ of IV. 118 EAR TRAINING. "Mozart. ^^^^^^^^^m etc ilzfc* ^^E^^M i^ii^i^fe^l^ Mendelssohn. 1: I 3t:t ^ J-^f -0 *• -d- fe^^.^>^^S S-S- fejj*^ :^ I Te is seldom used in the Dominant chord, but where so employed it creates the unusual progression of V to, IV or V to ii. Wagner. i ■A-=l EE *=-jtzM. f- is^ -"SL -f=— fe I F^^=FFF^ -<2 S'- Wagner frequently employed Te to change the mode of the Subtonic chord, and effect a modulation : Wagner. i^ ^fe^^^ '■P^^^^ l-Xh etc, m m^^^^^^^msm^^ CHAPTER X. Raising the First, Second, Fifth, and Sixth of the Scale — Reduction. 196. Raise the first tone of the scale one semitone and note its resolution. Sing i ijj 2 7 i. i ij| 2 5 i. 3 i|| 2 4 3. S i}| 2 4 3. 6 i# 2 4 3 2 I. 6 i# 2 I 7 2 I. 4 i# 2 5 6 71. 4 i# 2 I 2 7 I. 2 i# 2 4-7 I. 5 4 i# 2-1 7-2 I. ^ mE3 )\ m W b |»— {" - f=t:J|t ^T I I ^ Do di i ^ Pi W £^^^* ^ Eg S M^ J i>; ^=i^tt^E«^S =tK eS Ef 1E^S3^ -d — p- S^8=* 197. Harmonize these and you will find the most natural place for Di is in VI, the substitutional harmony of Do, the tone altered. 1 Ei i e m~'^ < ^ ^ ^ •(= — (ff- g) • * -rg 1^^ -g— i «g- 119 120 EAR TRAINING. i tf Schumann. ^ itdi N •- ^ i?=it P^ x: « O beau ti ful star, So ra - diant a - far, How ^ f- 1 =j|^ ^ -v V- dear - ly I love you though dis tant you are. 198. Sing 3 2J} 3 2 I. S 2Jf 3. 5 2Jt 3. 6 2J( 3 4 3 21. 6 2Jf 4 3. 7 2}( 3 2 I. 4 2}( 3. 4 2t 3 2 I. 7 f il 3 2 I. 7 2# 3- 5 4| 4tt 2# 3 2 I. S 4 2Jf 3. 5 4| 2t 4 3 21. I li 2 2# 3 41 5 4 3. I ijf 2 2# 3 4 4 5 s|} 6 5 4 3. I eb 2ft 3 4 3. ^ ^^ ^ t=t -^ — r -^ — s ^ I I I Ri i I =iH= ^=^ ^ ::J= ^=t ±=^ I dW ^ * ' •^ ' — *H-^- SSg I ^ ^z^it^i^i*!^ ^t -ri-^* 4 i ^ * i(p " ^ J -<- i» i fe *3 i i ^ • \ d d - 4 2b I 7 I- 1 "*^ Ra tt:S=:^ ^^^^SiE -^— g*- ^ig^s s ti=5i ^i-b*-4i: S^^B EAR TRAINING. 125 i 3; ^^=E| BE* s: :t:tW ^ NovembeT Song of the White-Throated Sparrow. 1^ ^^^^^^I^^^^^B VF^F^ - 208. In the first inversion of the Supertonic chord Ra creates what is commonly known as the Neapolitan Sixth. 1 Cramer. it W^F^ --^- 3e^ w* 3^^ ^ i ^S f R A minor. etc. i?* I Cramer. (i I sti ^ii^^^i )"^4 ^ g C minor. r i^ :g= Efct ■^ 209. Sing I 5 sb 4 3. i s'' 4 3- 5 5b 4 3 2 I. I 6b s 5b 4 3 3I7 2 2b I. I 2b 5b 2b I. 1 I 3b 5b 3b 2 I. 5 sb 4 s i s I. 2 =5i= Se =^ il =^ ^ •yTTp" E^r :£^trtr?EESES ia ^ ni-V*- I 126 EAR TRAINING. t ^fe^^il tifff= d* ^ pjEaEa^E^j^ ^pfe g Eg ^^ g ^gi 210. Summarizing the alterations, we may expect to hear : Di in a VI or I demanding ii. Ri in the first inversion of II demanding III, or with Fi em- bellishing I. Ra in the first inversion of ii forming the Neapolitan Sixth. Me in the minor mode of a key. Fi in a II demanding V. Si in III and V demanding VI. Le in the minor mode of a key and with Fi forming the aug- mented sixth. Li with Di in an embellishing chord. Te in a I demanding IV and in the descending melodic minor scale. It is interesting to note that when the first, fourth and fifth of the scale — the root of the major chords of a key — are raised one semitone, the tones thus altered occur in the substitutional chord of each. 211. Name or write the Roman numeral for each chord as you hear it. 1 Schumann. ^-^+--^^-HH --^=^=^ r^^t-H* i' FHH^ ^^LTf r^^ ^:y> s. / ^ ^ — 1 1 { — , ^lfcE?p^^EEi=9=^.__j F=N-r^r^ ' 3 EAR TRAINING. 127 ^m =^=p=^r-^-^ g-f— p ^ 9t=^ --^ '^^^^'^^^^ ^ -0 \ J^J -r-l ^ -f- -«- -f- -i- ^" I i^ ^=^= =<^ i«h- i f_i_r f «*<=• -M=t=$^z I ^ « — =1- ;t=t= German Choral. j ^^c pMi^=h^^=FPn-yi ^ ^ fe^ffrna ^ ^t ^ T '^ * ^iU- S H^ f m ^^ iEaEEESEEpE^ rr r 'r/ ' -^ I -f-rg-H^=l"r ^ g £3= *'V'l^v\,vUL]i 1. u 128 EAR TRAINING. ^E^E^^ m ^M^-^.^^=^^^ *- w ^^ -(=2- t Mi^M I % F¥ AkMM ^m Bach. feM^#t?*^ ^ * ■ ' ' Is u^r f^^^^tj rtr -^ fe^ ^^^^W J# ^ *: i 3? i p^ t=± ji ^ s S=# JTl W^ B^^lp^f^ -^ Jjj- J. #= -1^ ■ ^^N ^ i( ^ 3t=t f^— *-^^*^ T — ^^^^^fe^ta f=£?^rp=f= Bach. Crrj-^^ &^£r^ fT ^ i^E^ s EAR TRAINING. 129 l-d^- ^ d^S= ;!=* ^i E^ ^- s^^ ^H-=l| 1 ■=^Etl-£p i^^ S sE :t=1= J^ J. , vV ^i|.^ r n r ^ it b=± mm^i I ^ — f~y*' »=P= ^^ |t-^»-a-^ ^S" i Bach. i^z igts^ -fe- J hd — r EiE^^ fejgE^=^: pift r H^!- 4:— -=t "S^Efc?; — ^r — r — 130 EAR TRAINING. d §i |g--^^£j= e p^^ 6 GUILMANT. ^Ma \ ' sJ EPife r r etc. gf^ e — r r^=F^= ;^a EQ^ -«i=- i -i. Brahms. 4-hg— ^ ^S i ^ ^^ ^ ^^ f: ^^^ S i 9iifca ^ 8 Mendelssohn. ^ ^ UJ=a W:^E& iiSeE^ J ^ -,-^ i F^^^P^^^F^P EAR TRAINING. 131 ^B^-i^ ^ f^ Bach. Pi? r r r =g= H- -4r- m ■P- V. P ^^Pl ^ i=^ M 1F=S ^ ^^ Pee ^ itit p — g- 1^=^=^ 9# -i^^E^lt- I i t-f g fr ^ # N^f ^ ^s=^eE» |=t -• — ^- E?=l f- 1 9# ^^4- -J^ i ?c=^ SE^ E t=t f- ^EE^^^PJ^^ rf ^ I ElElEEElE^^ ?^=i= #-»-^-=-gi- g«» ^- A -m- ^ -^. ^. -J-J i i =t=^ \=^ T 10 Arr. from Bach. ^-^; 15, — (2- -ei — igi- ^ ^E^E^ii ^- s-»g- 3— s^ :^5,«2- -g- "J: ^fg- - g-g.<5" w^ ^ .g_lZg_ p fg- feg: =^= 132 EAR TRAIN^ING. ■27" PTpfe^ ^ idi^ JH JM Wagner. Jl ii^i^^^^^ ^ ^ iT»— p- r r ^ ?^Ht:F» ^J- j^J^- ^J-J- l^'J El^^^ ^^ ij-j. 1^^ > 1 rt f f i P ^^- 1 :9 cifff- j^: -^-'-^ ^=^=l= g^T^ -J=3^ rf r 212. Just a few words about Reduction to those who have not already practiced it. All music is based on the scale or chords, and the sooner the student learns to hear this framework or har- EAR TRAINING. 133 monic background, the quicker he reads, memorizes, and acquires the necessary velocity and ease with the florid passages. Form the habit of doing these things early, and it will require no special mental effort to analyze the difficult things as they are encountered in the course of study. As suggested once before, do not burden the memory with every detail, but hear the general outline — what we sometimes term our " memory pegs " — upon which the minor details hang. When one has the harmonic and rhythmic outline of a composition, then, and only then, is he ready to practice it. ' Following are some examples suggesting what can be done in this line. Heller. la Reduction of i. I % f g^ iizptt-==: Heller. ^^^^^^ ^i i* m 2a Reduction of z. ^ f 9^ ^ d._ -s«- r 134 £AJi TRAINING. ^ If^ =^f^=^ ^ Steibelt. !«gi m I Sst ^ # i^ i iE f^^E. ^ ^^g^ ^j t ,«F §^ =^ 3a Reduction of 3. ^^ i pfc [H^^ P* Heller. EAR TKAINING. 135 4a Reduction of 4. i &E 1—1 — r g « < 4 \ 4 4 .4 4 -^tz gftnr-j — j- -•- tt-J- Tit- -•- -1- ^ -* J Ul^J =^ ij-J- J- -J- -J- -J- -*" I t=r= ~-^=^ ^^^^^^m Cramer. '9^^ ^-;^-^ =i=? T=3= -I— ^- -&-*- =t=i: ^ -•-r ^ .rrrrs z ^ ^ 136 EAX TRAINING. 5a Reduction of 5. 1: i j. j-^-r J - J. J =^ n It ji-fEk^ ^i:=J iSL m^: -^ ^^ I ft The parting word to both the teacher and pupil is, think, think, think. Of a thousand people who play musical instruments, there is but one who thinks or feels more than the technique of a com- position. Listen. Hear not in a general way, but with discrimi- nation. Observe cause and effect ; everything is related to something else. Classify your knowledge. Success can be achieved only by honest, conscientious work. The Music Students Library C A series of Educational Text-books suited to the Tequiiements of the average student and covering every essential branch of musical instruction. Uniformly bound in cloth. HARMONY, COUNTERPOINT, AND MELODY WRITING INTBRTAIiS, CHORDS, Aim EAR TRAHiTiB'a Jean Parkman Brown $1.00 Exercises and examples in rudimentary harmony and ear training for use in conjunction with piano study. A practical " first book." EAR TRAINIHG FOR TEACHER AND PUPn, C. A. Alchin 1.00 Desigrned to teach the pupil to think in tones, and so to singr. name, write, and play what he hears. A book of exercises in discriminative hearing. HAKMOITY SIMPLIFIED Francis t. York 1.00 A practical text-book presenting in a concise manner the fundamental principles of har- mony, with non-essentials omitted. HARMOirr.„ Sir John Stalner, Mus. 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Uniformly bound in cloth. PIANO HALF HOUR LESSOITS DI MUSIC Mrs. Herman Kotzschmar $1.00 Oass work for beginners combining stud; with play. Full; illustrated. BURROWES' PIAWO PRIMER Frederic Field Ballard, Editor .75 The rudiments of music with tables of keys, scales, intervals, chords, turns and terms. EARS, BRAIN AND FINGERS HowardWeUs 1.25 On the training of ear and brain while developing finger technic. NATURAL LAWS IN PIANO TECHNIC Mary Wood Chase 1.25 This work presents clearly and concisely the essential laws of the building up of a good Fiano Technic in a practical manner. Fully illustrated. THE INTERPRETATION OP PIANO MUSIC Mary VenaWe 1.25 Studies in the meaning of printed signs used in music, and their bearing on the interpre- tation of standard works. With numerous music illustrations. PIANO TEACHING: ITS PRINCIPLES AND PROBLEMS Clarence G. Hamilton, A.M. 1.25 A practical book written by a practical man to meet practical needs. Illustrated. VOICE A B C OF MUSIC Augusts Mathieu Panseron (Ed. by N. CllfiordPage) 1.00 This book is a primer of vocalization,— the A B C's to be mastered at the start. TWELVE LESSONS IN THE FUNDAMENTALS OF VOICE PRODUCTION. .A. L. Manchester 1.00 The principles of tone production with simple, practical exercises. TRAINING OF BOYS ' VOICES Claude Ellsworth Johnson . 75 A practical guide to the correct " placing" and trainmg of boys' voices. RESONANCE IN SINGING AND SPEAKING Dr. Thomas FiUebrovm 1.25 A scientific exposition of fundamentals, with breathing and vocal exercises and illustra- tions. Emphasizes psychology rather than physiology. COMMONPLACES OF VOCAL ART Louis Arthur RusseU 1.00 The plain truths of vocal art presented in simple, untechnical language. ENGLISH DICTION FOR SINGERS AND SPEAKERS Louis Artbur RusseU 1 .00 For all singers or speakers who seek a refined or artistic use of the English language. FRENCH DICTION FOR SINGERS AND SPEAKERS WiUiam Haikness Arnold 1.00 The elements of French pronunciation reduced to a few fundamental principles, readily mastered. Contains twenty-one modern songs, besides poems and prose extracts. VIOUN HOW TO STUDY KREUTZER Benjamin Cutter ,75 What every violin teacher discusses and illustrates in the lesson room put into book form. The Musicians Library CThis notable series has been planned to embrace all the master- pieces of song: and piano literature; to gather into superbly made volumes of uniform size and binding the best work of the best com- posers, edited by men of authority. Each volume is independent, complete in itself and Bold by itsel£ PIANO VOLUMES Eduedby BACH PIANO ALBUM. Vol. I. Shorter Compositions Dr. Ebenezer Frout BACH PIANO ALBUM. Vol.11. Larger Compositions Dr. Ebenezer Front BEETHOVEN PIANO COMPOSITIONS. Vols. landH .Eugen d' Albert BRAHMS, J0HANI7ES. Selected Piano Compositions Raphael Joseffy CHOPIN, FRBBERIC. Forty Piano Compositions James Huneker CHOPIN, FREDERIC. The Greater Chopin James Huneker GRIEG, EDVARD. Larger Piano Compositions Bertha Feiring Tapper GRIEG, EDVARD. Piano Lyrics and Shorter Compositions Bertha Feiring Tapper HAYDN, FRANZ JOSEF. Twenty Piano Compositions Xaver Scharwenka LISZT, FRANZ. Ten Hungarian Rhapsodies August Spanuth and John Orth LISZT, FRANZ. Twenty Original Piano Compositions August Spanuth LISZT, FRANZ. Twenty Piano Transcriptions August Spanuth MENDELSSOHN, FELK. Thirty Piano Compositions | ::::wiihaPVW£kfe bV^Danle^feo^^M^^^^^^ MOZART, WOLFGANG AMADEUS. Twenty Piano Compositions Carl Reinecke SCHUBERT, FRANZ. Selected Piano Compositions August Spanuth SCHUMANN, ROBERT. Fifty Piano Compositions Xaver Scharwenka WAGNER, RICHARD. Selections from the Music Dramas Otto Singer ANTHOLOGY OP FRENCH PIANO MUSIC. Vol. I. Early Composers ? t,j . u.,v Vol. n. Modem Composers J !«"•" Ph'liPP ANTHOLOGY OF GERMAN PL&NO PIANO MUSIC. Vol. 1. Early Composers ) „„ ., w„ i,„ t- Vol. n. Modem Composers P°"'^*^'«^''<'^s'" EARLY ITALIAN PIANO MUSIC M. Esposito TWENTY-FOUR NEGRO MELODIES Transcribed for Piano by S. Coleridge-Taylor Each volume in heavy paper, cloth back, $1.75; in full cloth, gilt, $3.00. Copies mailed postpaid. Other volumes in preparation. Booklets, givine full particulars, with portraits of Editors and contents of volumes published, FREE on request. N0T£, — These works will be sent with return privilege to those with accounts in good standing, and to those with no accounts upon receipt of price, which will be returned, less postage, if not satisfactory. Write for particulars of our Easy Payment Flan. OLIVER DITSON COMPANY, Boston CHAS. H. DITSON & CO., New York LYON & HEALY, Chicaso The Musicians Library HenryT.Finck Vol. n. Brahms, Tchaikovsky, Grieg Wolf find Strauss ) ONE HUNDRED SONGS OP ENGLAND. High Voice. Low Voice Granville Bantock SEVENTY SCOTTISH SONGS. High Voice. Low Voice ,. Helen Hopekirk SIXTY FOLKSONGS OF FRANCE. Medium Voice Julien Tiersot SIXTY IRISH SONGS. High Voice. Low Voice William Arms Fisher SIXTY PATRIOTIC SONGS OF ALL NATIONS. Medium Voice Granville Bantock SONGS BY THIRTY AMERICANS. High Voice. Low Voice RupeilHughes SONGS FROM THE OPERAS FOR SOPRANO H. E. Krehbiel SONGS FROM THE OPERAS FOR MEZZO-SOPRANO H. E. Krehbiel SONGS FROM THE OPERAS FOR ALTO H. E. Krehbiel SONGS FOR THE OPERAS FOR TENOR H. E. Krehbiel SONGS FOR THE OPERAS FOR BARITONE AND BASS H. E. Krehbiel Each volume in heavy pa^er, cloth back, $1.50; in full cloth, gilt, $2.50. Copies mailed postpaid. Other volumes in preparation. Booklets, giving full particulars, with portraits of Editors and contents of volumes published, FREE on request. Note — These works will be sent with return privilege to those with accounts in good standing, and to those with no account upon receipt of price, which will be returned, less postage, if not satisfactory. Write for particulars of our Easy Payment Plan. OLIVER DITSON COMPANY, Boston CHAS. H. DITSON & CO., New York LYON & HEALY, Chicago