Berhlee College of Muic C urriculum Wo rb boo b S er ies

EAR TRAINING 1 WORKBOOK 2nd Edition

Scott deOgburn Tony Germain Mitch Haupers

Steve Prosser Roberta Radley Dave Vose

O 2013 Berklee College of Music

Contents

Chapter 1 Chapter 3
1.1 Rhythm . .. ..... . 1 3.1 Rhythm 29
Conducting; pedormance; introducing lntroducing 214 meler; one-beat full
414lime signature; whole note, sixteenth note pattern; articulations
half note, quarter note and equivalent 3.2 Melody ....33
rests; practice strategies for rhythm Diatonic melodies in F, treble and
1.2 Me|ody.......... .... ...8 bass clefs
Learning and using solfege and 3.3 lnteruals... ..................37
Sol-Fa;practice method for sight Major third interval
singing;diatonic melodies in key of 3.4 Harmony ... ........................38
C major, treble clef V chord and chord progression
1 .3 lntervals .. . ......... .......15 3.5 Solfege 41
Minor second interval lntervals of diatonic trichords
1.5 Solfege 16 Chapter 4
Learning the language of solfege; 4.1 Rhythm
diatonic tendency tone pairs Pick-up notes; dotted quarter note;
Chapter 2 single eighth note/rest; ties; repeat sign
2.1 Rhythm. .18 4.2 Melody ................. 46
lntroducing eighth notes and dotted Diatonic melodies in C and E both clefs
half note 4.3 lntervals 50
2.2 Melody 21 Minor third interval
How to sing leaps; diatonic melodies in 4.4 Harmony.......... ...... .51
C, introducing bass clef lV chord
2.3 lntervals ..... .25 4.5 Solfege .....52
Major second interval Transposition of diatonic trichords
2.4 Harmony 26
Major triad: the I chord
2.5 Solfege. 27
Trichords; melodic sequencing
 Ear Training 1 Workbook Chapter 1

1.1 Rhythm

T Conducting
I Conducting is a method of timekeeping commonly used in ear training.
P Conducting patterns consist of distinct po¡nts in which beats are placed. ln
One way to
this way, there is only one point within the pattern that shows beat one, thus,
practice the con- aiding the student in the development of a Sense of "place" within the mea-
ducting patterns Sure. Once these patterns are learned and pract¡ced, the student can rely
is along with Upon them to maintain flow as changing rhythms and meters become more
";:::*'-:: complex in their study.

Basic Patterns
The conducting patterns used in ear training are designed to be simple, effective and inter-
changeable. For example, the pattern used for 214 can also be used for 6/8; conducting in 414
can be used in 1218, elc. As well, we have developed simplified patterns for 514,614, and 714
that are all based upon the 414 pallern These patterns function regardless of stress divisions
within the measure (e.g., a bar of 514 divided into 3+2 or a bar of 714 divided into 2+3+2).
Most importantly, the student can focus on rhythm and meter rather than the plethora of con-
ducting options that exist in varying schools of thought. (Note: Students will be introduced to
appropriate conducting methods and pedagogy in the required conducting courses later in
the curriculum.)

Conducting is to be performed with the right hand. When practicing conducting patterns, try to
maintain a sense of flow. Do not stop on the beats. lnstead, bounce the hand off of each beat,
while moving toward the next beat with a sense of steady motion. Avoid angular movements,
as these will create a duple feel. Although good for straight eighth-note subdivision, this can
make learning odd divisions of the beat (triplet, quintuplet, and septuplet) difficult in later prac-
tice. Once you've mastered the shape and flow of each pattern try to keep its size relatively
small and off to the right side outside of the direct visual sight line for reading, yet within a
-
comfortable peripheral visual zone.

The conducting patterns shown on the following page will be used throughout the entire train-
ing process (levels 1-4). lt is important that you take the time to familiarize yourself with the
patterns and practice them separately until you can perform them accurately without thinking
about them. Make certain that your pattern shows the beat and does not stop motion any-
where in other words, keep the flow between the beats.
-

ETl Chapter 1- I
1.1 Rhythm

Let's start with a simple two-beat pattern (ex. 1). The example on the left
(1a) shows the conducting pattern in two, whereas the example on the right
(1b) is a more realistic and flowing version likely to occur in practice. Make
certain that in both patterns the beats are placed accurately within the flow
of the pattern. The 214 time signature is introduced in Chapter 3.

c)
ex. 1a -4
imaginary plane
I 1
+ ex.1b

pattern in two looks like this in practice

When practicing, try to place the beats consistently each time throughout the pattern. ln all
patterns, there is an imaginary plane where all beats except the last are placed. Notice the
common plane for the placement of beats 1 and 2 in the 3/4 pattern (ex. 2). While beat 3 is
placed higher than the common plane for beats 1 and 2, it falls on the same descending line
of beat 1 . Also note that the downbeats (1 , 2 and 3) are all arrived at in a downward motion
while the upbeats (+) are all passed in an upward motion. The 3/4 time signature is introduced
in Chapter 5.

ex.2a ?f ex.2b

imaginary plane

pattern in three looks like this in practice

The pattern for 414 is similar to the three-pattern except that beat 2 is placed to the left of beat
1 (ex. 3). Now, beats 1,2 and 3 are on the imaginary plane and beat 4 is higher than beat 1
but on the same descending line. The 414 time signature is introduced in Chapter 1.The 414
meter is perhaps the most popular time signature and therefore is also notated as "common
time" (@ ).

ex.3a ex. 3b
fr*
"
imaginary plane
i-----t-----á-
pattern in four looks like this in practice

2 - E:lt Chapter I
 Pertormance
It is imperative for the beginning student to learn, feel and internalize steady
pulse and subdivision as a means to improving sight-reading skills and
If feeling subdi- expanding one's rhythmic vocabulary. There are a number of practice/perfor-
vision internally mance methods to help develop this skill. Yet, they all have the same objec-
is difficult, try tive in mind: the externalization of pulse and subdivision as a means of feel-
tapping the sub-
ing rhythm. We call this "laying down the grid."
divisions lightly
on your chest
witl úre left The grid is determined by the pulse and its most prevalent subdivision.
hand while you For example, in 414 time where the eighth note is present but not sixteenth
are conducting.
notes, students need to keep the quarter note constant and feel the beats
divided in two as eighth notes. Whenever more than one subdivision is pres-
ent, (e.9., eighths and sixteenths together) students should perform the exer-
cise two ways feeling both eighth and sixteenth notes against the pulse.
-
Accurately interpreting rhythm notation requires a combination of coordination, pattern recog-
nition and sense of flow. Since we can break rhythm down into three "events" (attack-duration-
release) that occur in time flow, our practice methods should help us to develop an awareness
of these concepts and fluency with their execution. The following practice method, called "tah
and conduct," is the most widely used and has proven quite effective for rhythmic develop-
ment. Other useful practice methods are described in this chapter on page 7.

Pertormance Method Tah (or Dah) and Conduct

-
This practice technique relies on the conducting patterns in the right hand for timekeeping.
The subdivision is internalized and the rhythm itself is performed vocally by saying "tah" (or
"dah") in the appropriate places. The "t" in tah (or "d" in dah) is the attack and the "ah" is used
for duration and release. (Note: For simplicity, this technique will be referred to as "tah and
conduct" in the future, even though 'dah" is an option.)Try to release as accurately as you
attack. Precision at an early stage of learning develops a keen sense for reading, performing
and transcribing rhythms in the future.

One common problem is running out of breath when "singing" the rhythms. Make sure you are
inhaling in a "musical" place within the exercise (e.9., in between phrases or measures; NOT
in the midst of a rhythmic duration). You may even want to mark the places where you discov-
er breathing does not disrupt your rhythmic flow during your practice sessions. The common
symbol for a "breath mark" is an apostrophe (') above the staff.

Practice hints: lf you notice yourself dropping or adding beats in a measure, check your con-
ducting pattern and make certain you are not changing it. lf that checks out, perhaps you are
ignoring rests and "skipping ahead" to the next note. Feel the rests and their subdivision as
they pass by in the flow of time. Perform the rests!

ETlChapterl-3
1.1 Rhythm

T Rhythmic Exercises
I The rhythm portion of Chapter 1 includes long note durations and short note
P durations in the 4l4lime signature. lt is impoftant to always be aware of the
P¡actice the con- beat that you are on when performing rhythms. To help this process, use the
ducting pattern conducting techniques as shown earlier in this chapter. Below are the note
while looking
durations used for the rhythms in this first chapter.
into a mirro¡.
\7hen first learn-
ing the patterns,
cou.nt out loud ex.4 ) )|
as you conduct.

Whole note/rest half note/rest quafter note/rest

The following exercises are notated on a single line staff with a neutral clef which is also
known as a rhythm clef. Perform these rhythms using the "Tah and Conduct" technique. Be
careful of note duration. Be equally accurate with the attack of the note and the release.

4 -ETl Chapter 1
ETl Chapterl-5
 !

1.1 Rhythm

Rhythmic Duet
This rhythmic duet can be performed with a partner or with a recording of yourself performing
one paft while you perform the other part live. Also, you can try both lines by yourself at the
same time (see next page).

13.

6 - ETl Chapter 1
 Practice Strategies for Rhythm
Clap & Count: lf you find the tah and conduct method difficult at first, you
may wish to improve the accuracy of your attacks. Through this method, you
Regardless of learn to accurately place the rhythms on the subdivision grid without having
which meúrod to negotiate or interpret rhythmic values that determine duration and release.
you use, feel
úre pulse and
The grid is supplied vocally in our counting. We count aloud (i.e., saying
appropriate sub-
diüsion. It akes "1 & 2 & 3 & 4 &" in 414 when eighth notes are the prevalent subdivision)
time to internal- and clap the rhythms with our hands. This approach also reinforces coor-
ize'the grid." dination between voice and hands which is beneficial, in the long run, for
vocalists who may wish to play percussion while singing or drummers who
want to sing lead or backup vocals while they play.

Try counting and clapping to the beat of a metronome. lf you f¡nd that your clapping gets
"behind" the pulse, try keeping your hands closer together in between claps. lf the coordina-
tion is difficult at first, just lightly clap the grid of eighth notes and try to accent different points
along the grid without losing pulse or changing tempo. lnitially, pract¡ce slowly and always use
a metronome.

Tah & Conduct with subdivision: Until you begin to internalize the subdivision of the beat, it
will be helpful to represent pulse and subdivision vocally. One way to do this is to accent the
pulse or subdivision while saying the "ah" after the attack. For example, in rhythm exercise #9
(p. 5) when performing the whole notes, say "tah" on beat one. While holding the duration of
the whole note vocally, accent beats two, three and four saying ah again for each downbeat.
This is the same technique singers use when singing a lyric which has more than one note
per syllable.

Two-Part Rhythms: lf the top part is being performed vocally, you have to deal with attack,
duration and release. On the bottom part, it is attacked only by clapping the hands (ex. 13,
previous page). The trick is to focus your direct visual gaze on the top line and do not allow
the eyes to move up and down, or to and from the top and bottom pafts. lnstead, use your
peripheral vision to see the bottom part and rely on vertical alignment between the parts to
help you stay in flow.

ln the beginning or as the rhythms become more complex, it may be helpful to practice only
two measures at a time. Stay in the flow, but create extra measures of rest in between the
rhythms you are practicing. This will allow you to think about how the next rhythms should feel
before you perform them.

ET1 Chapterl-7
1.2 Melody

Learning and Using Solfege and Sol-Fa

The use of solfege syllables to train the musical ear is over one thousand
years old. One reason solfege syllables work well is because they're easy to
say. The following example shows the solfege syllables used for a diatonic
major scale.

ex.S Do Re Mi Fa Sol La Ti Do

At Berklee College of Music we use the "movable-Do" system of solfege.

That means that whatever key you are in, the One or Tonic of the key is do.
lf you switch keys (modulate), the new Tonic will be do.

This means you have to learn to identify each solfege syllable as it relates to
a note in each key. This sounds like a large task, but with this method you
will learn the various keys one at a time.

The great thing about learning movable-Do solfege is that once you learn a melody in one
key, you'll be able to hear it in any key. That's because each solfege syllable represents a
particular sound or function within the key. Thus, do re mi in the key of "C" sounds the same
(functionally) in the key of "B[."

Here is an example of a C major melody transposed to the keys of F major and G major,
which shows the functional relationship of solfege in the movable-Do system.

ex.6

C major: "C" is tonic (do) F major: "F" is tonic (do) G major: "G" is tonic (do)

do re mi re mi re do do re mi re mi re do do re mi re mi re do

Sol-Fa
Sol-Fa is solfege without the notes. Here's an example:

ex.7 Do Re Do

lf you just picked any starting note as do and sang these syllables, you'd be singing Sol-Fa.
We begin with Sol-Fa because it's a very effective way to learn the sound of the solfege
functions. lndeed, the goal of Sol-Fa is to permanently learn each syllable's unique sound.

8 - ETI Chapter I
The music we will sing in Ear Training is tonal- that is, music that has a sense of center or
place of resolution. "Do" is that center and place of resolution it's the place where you feel
-
musically at rest in a melody. Thus, the other syllables, re, mi, fa, sol, la, tido not have that
sense of rest. Rather, each one has a distinctive sense of resolution to do.

For example, so/ and fi both tend to resolve lo do. One path from so/ to do is so/ fa mi re do.
Ii3 path is simply fi do. So, while they both resolve lo do, they each take a different path.
Learning each distinctive path is your first task in learning Sol-Fa.

Method For Singing Sol-Fa

Look at the following example:

ex.8 Do Re Mi Re Mi Fa Mi Re Do

1. Get a reference note from the piano, your instrument, a pitch pipe or a tuning fork. That
note will be do.

2. Sing that note and stop.

3. Listen internally for the next Sol-Fa note, re. (Think of re's resolution to do.)

4. Sing the note re.

5. Repeat this technique for the rest of the notes until you get back lo do.

6. Play your reference note to check your intonation.

Practice Tips
Go slow enough on each note to feel sure about your intonation.

Never play the pitches on the piano after you have sung them (until you get to the end). You
must adjust your intonation by concentration, not by matching the piano.

lf, after singing the example, you find that you are sharp or flat, sing the example again
slower and with more attention given to the intonation of each note.
-

Putting silence between each note is essential to build your inner hearing. Notice that when
you are searching for the next pitch in silence your voice box moves to that pitch. This is
called muscular memory your musical mind and your throat working together. Using silence
-
between the notes will help you develop a vivid inner sense of musical sounds and that is a
primary goal of ear training.
-

ETlChapterl-9
1.2 Melody

Sol-Fa Exercises
Sing the following Sol-Fa exercises using the prescribed methods and practice tips.

1. DO REMi REMi REDO / REMi REMi REREDO

2. Do ReDoReMi FaM¡ I ReMi ReDoReMi Fal

Mi ReMi ReMi FaMi I Fa Mi Re Do Re Re Do

3. Do Re Mi Fa Sol Fa Sol lLaSolFaMiReReDol

Do Re Mi Fa Sol La Ti I Do Ti La Sol Fa Mi Re Do

4. Do Ti La Sol La T¡ Do I Do T¡ La Sol Fa Mi Re I
Mi Re Mi Fa Sol La Sol I La Ti Do Ti La T¡ Do

10 - ETI Chapter 1
Practice Method for Sightsinging
The following outline is a suggested practice method for learning to hear and sing a new mel-
ody using movable-Do solfege. Please note that the order of steps (shown below) is the gen-
erally accepted approach for the beginning student. After some time has been spent practicing
this approach and a reasonably comfortable level of facility with it is attained, the student is
encouraged to choose only those steps that are best suited to accomplish small tasks and/or
solve procedural problems as they arise.

Do not play the melody first and then sing it!

Do not write the solfege in the book!
Practice slowly! with or without a metronome.
-
1. Rhythm: Practice just the rhythm with Iah (or Dah) and Conduct.
2. Dry Solfege (Out of Time): ldentify each new note in the melody by saying its correspond-
ing solfege syllable without pitch. lf solfege recognition is not immediate, try saying each
new syllable with every beat of the metronome as a practice method for improving this skill.
3. Dry Solfege (ln Time): While conducting, practice saying the syllables in their notated
rhythm yet slill withouf pitch.
4.
-
Metodic contour singing: Sing each pitch of the melody with solfege (in order while skipping
repeated notes), bul out-oftime.
5. Sing the Metody: Put all of the elements together rhythm, solfege, pitch, in time while
CONDUCTING.
-

Problem solving techniques

Practice the problem areas out-of-time by:
1. Singing additional unnotated target pitches with solfege to help you hear the notated
pitches (e.9., to hear the interval dolo mi, sing do, re, mi);
2. lnner hear (imagine singing the pitch without actually singing aloud) additional unnotated
target pitches with solfege to help you hear the notated pitches (e.9., to hear the interval do
to sol sing do, inner hear re, mi, faand then sing so/);
3. Use octave displacement as a means to hear larger intervals that may occur in a melody
(e.9., to hear a minor seventh interval from do down lo re, first sing or inner hear the high
do moving up to re. Then sing the re one octave lower). This technique will make singing
and hearing larger intervals much easier.
4. (Especially for sight reading): Look over the melodic contour for melodic and rhythmic
patterns which repeat, pitches which outline triads and 7th chords, inversions, accidentals/
non-diatonic pitches and pitches not found in the original key or mode.

Practice material enough to perform accurately, in time, in tune, and with correct solfege. You
can practice and perform melody and rhythm at any tempo you wish, as long as you can per
form it accurately and without interrupting the time flow. When sight-singing, do not stop time
to "fix" errors or comment on your own performance (e.9., expletives, facial gestures, groans,
elc.)... maintain the flow!

ETI Chapter 1- ll
1.2 Melody

Melodic Exercises
Sing the following melodic exercises using the prescribed methods and practice tips. ln this
chapter, the C major scale in treble clef will be introduced. Some melodies will be accompa-
nied by chord symbols; consider singing the root motion as counterpoint to the melody.

la sol fa mi

1.

C G7 C
3.

G G7 C

12 - ETl Chapter 1
 4.

5.

Melodic Duet
Sing the following melodic duet with a partner using solfege, in time and while conducting.

aa
6. -\

aJ+o

et+ +rl

ETlChapterl-13
1.2 Melody

Melodic Etude
Sing the following melodic etude with solfege, in time and while conducting.

G
7.

G7 C

C C

Melodic Transposition
Transpose melody #3 on page 12 to the key of F major. The starting notes are given in mea-
sures 1 and 5.

14 -ETl Chapter I
1.3 lntervals

The Minor Second lnterval

The simplest component of harmony is the interval, the relationship between two pitches.
Within our twelve-note system, the chromatic scale, the relationship between one pitch to the
next closest is called a half-step, also known as a minor second intérval. Within the major
scale, notice the relationships between ti- do and mi- fa. These are minor second intervals.
Use the following exercises to help you hear and sing minor seconds.

lnterval Exercises
1. Play the minor second interval on your instrument and listen. lf your instrument allows, play
the two notes together as well as separately. Vocalists and drummers should use a piano.

2. Practice singing the minor second interval. Choose any tone and sing up or down by a
half-step.

3. Play a pitch on your instrument and then sing a half-step up or down from that note.

4. When singing the major scale, notice the minor seconds between ti- do and mi- fa.

Diatonic lntervals of the Major Scale (Major and Minor 2nds)

ex. 9 Diatonic 2nds of the C Major Scale

------/ ---\-----
lnterval: Major 2nd Major 2nd Minor 2nd Major 2nd Major 2nd Major 2nd Minor 2nd
Step: whole whole Half whole whole whole Half

ETlChapterl-15
1.5 Solfege

Learning the Language of Solfege

To begin training our ears with the movable-Do system, we need to become
proficient with the language of solfege. Example 10 shows all the solfege
Think of solfege names used in movable-Do with corresponding notes on the staff in the
as a new la¡r- key of C. Take the time to learn all the names and their functions (i.e.,
guage the
- fa = fourth scale degree, fi = raised fourth). Circled notes indicate diatonic
language of
pitch function. scale degrees and the corresponding diatonic solfege.
At first, lea¡n to
become fluent Note: Pronunciation of the solfege syllables is based upon the ltalian lan-
with the solfege
guage. Therefore, the "e" in re sounds like the long "a" as in "day." The "i"
syllables.
in fi sounds like the long "e" as in "bee." Finally, the "a" in ra sounds like the
short "a" as in "father."

ex. 10 Solfege and Note Names in C

6) 6il'á 6;)si [) lrY6;fñreG)rc 6Js"GlYfi)ue6)nalói)

lóJ
YYYYYYYYYYYYYYY
oi n¡ Fi Li

A
c#g)Dil r, $* ó " óóó,bó^h ó"b6 =,ó;ó
T Diatonic Tendency Tone Pairs
I As you've read in the melodic section of this chapter, movable-Do solfege
P is a training approach used to identify pitches and their function within a
Tendenry tone tonal context. This system is designed to inform our sense of harmonic
pairs are tempo- awareness. Through practice, you w¡ll learn to hear the possibilities for
rary relationships
harmonizing a melody. lnitially the student should learn the resolution of
between diatonic
pitches to help diatonic pitches toward the tonal center in a melodic way.
you to learn har-
monic fi:¡ction. ln example 11 below, shown in the key of C, we see that the notes re, fa,
sol, la and fi are the ones that resolve. So, we cons¡der those notes and
their resolution or target notes as tendency tone pairs. Because so/ can
resolve up or down lo do, there are 6 diatonic tendency tone pairs.

ex. 11 Diatonic Tendency Tone Pairs

SO do SO do do re do fa m a SO

16 - ETI Chapter I
 Tendency Tone Song
Sing this song from memory using solfege. At first, practice by singing care-
fully on pitch and using four breaths to complete the song. Work your way
lrarn to recog- to two breaths, maintaining good tone. Eventually, when you think you are
nize the solfege singing well, beginning and ending in the original key without an instrument
name by a and using correct solfege, perform it on one breath.
pitch's interval
relationship to
do on ¡he s:laff. ex.12 Tendency Tone Song

....=2bfeathS
= 4 breaths

Tone Ladder
Another approach to representing pitches with- ex. l3 Tone Ladder for the Diatonic Major Scale
out notes is called the tone ladder. The notes of
a pafticular scale are shown with solfege in ver- m'
tical order. The tone ladder is useful for learning
the order of the solfege syllables within the r'
scale and when learning to visualize the sylla- d'
bles. lt can be viewed either in ascending or
t
descending motion. For simplicity, the solfege
syllables are abbreviated within the ladder in the I

following way: d = do, I = fe, ff't = mi, f = fa, S

S=SO1 l=la,t=ti.
f
ln Chapter 2, the tone ladder will be used for m
melodic sequencing exercises. Example 13 r
shows the tone ladder used for the diatonic
major scale. Note the singing range from low d
so/ to the high mr. Sometimes the use of super- t.
script marks (') and subscript marks (,) are
t.
used to denote pitches above or below the do.
For example, the low so/ on this ladder would S,
have a subscr¡pt mark because it lies in the
octave below do, whereas the high do has a
superscript mark because it begins the scale an
octave above the original do.

ETlChapterl-17
 Ear Training 1 Workbook Chapter 2

2.1 Rhythm

The four eighth note grouping and the two eighth note grouping are intro-
duced in Chapter 2. Each eighth note receives one half beat value. The four
eighth note grouping will occur over beats one and two or beats three and
P¡actice dura-
four. The two eighth note grouping will occur over any beat. Count eighth
tions longer notesasl &2&3 &4&.
than one beat
(e.g., doned half
note) by feeling ex. 1

pulse continue
through the
fuIl value of the
note.
Also in this chapter is the dotted half note. A dot after a note increases
its value by one half of the value of the note. Therefore, since a half note
receives two beats, the dotted half note will receive three beats. Make sure
that you susta¡n the note for its full value.

ex.2 ) = J-J-J )_)

The single line staff and five line staff will be used in this chapter.

Rhythmic Exercises

l8 - ETl Chapter 2
4.

5.
-

- - - -

6.

7. -

ET1 Chapter2-19
2.1 Rhythm

Rhythmic Etude

20 - ETl Chapter 2
2.2 Melody

How to Sing Leaps

ln this chapter, we will begin to sing some leaps. The important thing to
remember is to concentrate on the note's resolution lo do, notlhe distance
from the note before itl You will permanently learnlhe function of each
Sol-Fa syllable if you think this way!

ex.3 Do Re Mi Fa Sol Mi

So/ to mi is a leap. Think of mi's resolution lo do NOT sollo mi.

-

Sol-Fa Exercises

1. Do Re Mi Fa So La Ti Do / Do Ti La Sol Fa Mi ReDol
Do Re Do Re Mi Fa Mi Fa Sol La Ti Do Ti Ti Do

2. Do Re Mi Fa Sol Sol Do / Do Sol Do Sol Fa Mi Rel

Do Re Mi Fa Sol Sol Do / Sol Do Sol Do Sol So Do

3. Do Ti La Sol FaMi I Sol Mi Sol Mi Re Do Rel

Do Re Mi Sol La Sol La / Sol Mi Sol Mi Sol Sol Dol
Sol Mi Re Do Sol Sol Do

ETI Chapter 2 -21

2.2 Melody

Melodic Exercises
Sing the following melodic exercises using the prescribed methods and practice tips. ln this
chapter the key of C in bass clef will be introduced.

\
doremi lasoatdoti asofamredo

3.

22 -ETl Chapter 2
4.

C G7 C

5.

Melodic Duet

-a-
',rtl

I I

ffi

- - -
I
l)
Lt I
-

FIlChapter2-23
2.2 Melody

Melodic Etude
C G G7

Melodic Transposition
Transpose melody #4 on page 23 to the key of F major. The starting notes are given in
measures 1 and 5.

24 -ETI Chapter 2
2.3 lntervals

The Major Second lnterval

The major second interval is the combination of two half-steps. Notice that within the major
scale the major second interval occurs between do - re, re - mi, fa - sol, sol - la and la - ti.

lnterval Exercises
Play the major second interval on your instrument or a piano and listen. lf
your instrument allows, play the two notes together as well as separately.

Practice singing major second intervals. Choose a note and sing two half-
steps above or below, creating the resulting major second interval. Then
sing directly to the target note, a major second away.

Play a note on your instrument and sing a major second interval above
or below.

There are several major second intervals within the major scale with
which to practice. For example, notice the major second interval when
singing from do lo re. Sing the two half-steps that link do lo re.

5. Compare the sounds of major and minor seconds when doing the above
exercises.

lnterval Notation Practice

Practice writing diatonic major and minor seconds in both the treble and bass clefs in the key
of C. As you write the notes, sing the interval using the correct solfege. You can write the
notes in a different octave than you are singing.

ETI Chapter 2 -25

2.4 Harmony

The Major Triad: the I Chord

This chapter introduces the major triad. The major triad is a three-note chord
with the following intervallic construction: a major third from the root to the
third and a minor third from the third to the fifth. We will be studying major
and minor third intervals in Chapters 3 and 4.

Within the major scale, the relationship between do - mi - so/ is a major

triad. This is the I chord (see examples 4a, 4b, 4c). Often, this approach to
hearing the major triad is easier than a purely intervallic approach.

Major triads can also be found in the major scale between fa - la - do and
sol- ti- re. Respectively, these are known as the lV chord and the V chord
and will be dealt with in upcoming chapters.

Bass Line Exercises

Listening to the bass line is often the first step in hearing the intended harmony. The following
two bass lines outline the I chord. ln preparation for hearing the chord arpeggio, the first four
measures connect the chord tones by stepwise motion; measures five through eight express
simply the chord arpeggio itself.

C
1.

Harmonic Exercises
'1. Play major triads on your instrument or a piano and listen. While playing the triad, sing the
arpeggio (playing or singing the notes of the chord one after the other, instead of simultane-
ously). Also remember that you are playing or singing the root, third and fifth of the chord.

2. Practice singing major triads. Consider the intervallic relationships: major third plus
minor third.

3. Sing the major scale, then extract do, mi and so/ which represent the I chord.

26 -ETl Chapter 2
The I Chord in keys of C, F and G
The following examples show the I chord in root position. The keyboard illustration demon-
strates how to play each chord: root in left hand, chord in right hand. Note where middle C is
indicated on the keyboard.

ex.4alchord: keyofCmajor ex.4blchord: keyofFmajor ex.4clchord: keyofGmajor

t
md d eC
t
middle C
t
middle C

2.5 Solfege

Trichords
Trichords are three consecutive notes within any scale. ln the diatonic major
scale, there are seven of them do re mi, re mifa, mi fa sol, fa sol la, sol
-
la ti, la ti do and ti do re. Three of the trichords are made of two whole steps
(do re m| fa sol la and so/ la ti) and are called lhe Major trichords. Two of
the trichords are made of one whole step followed by a half step in ascend-
ing order (re mi fa and la ti do) and are called lhe Minor trichords. Finally,
two of the trichords are made of a half step followed by a whole step in
ascending order (mi fa so/ and ti do re) and are called lhe Phrygian trichords.

ex.5 Three types of

diatonic trichords

ETlChapter2-27
2.5 Solfege

Melodic Sequencing
ln music, a melodic sequence is a repetition of a motive or phrase at a lower
or higher pitch. ln ear training, sequence is used primarily for contributing to
Before sing- solfege fluency. We can create simple melodic motives and sing them using
ing a melodic solfege in ascending and descending sequences throughout the scale.
sequence, try
saying the
solfege dry first Sing them slow enough to insure accuracy with the solfege. At first you may
until you can do need to look at the tone ladder to remember the solfege, but eventually you
it error free. will learn lo visualize the relationship between solfege and the pitches.

ex. 6 Major trichord permutations

Trichord Sequence #1
Memorize the following exercise. Use solfege and conduct when performing. The tone ladder
has been provided below as a practice tool. Do NOT write the solfege underneath the notes.
Either look at the notes and translate or look at the tone ladder and try to hear the pitches.

m'
r'
d'
t
I

f
m

t.

28 -ETl Chapter 2
 Ear Training 1 Workbook Chapter 3

ln this chapter we introduce the 214 meler. (Review the conducting pattern
found on page 2.) Also, a new note value (the 16th-note) is introduced.
Sixteenth notes receive a quarter of a beat value, and divide a beat into
4 equal parts.

ln example 1, the one-beat full sixteenth pattern is shown.

ex. 1 16th-note pattern

Counting: 1

Ihe staccato mark (. ) attached to a note indicates that the note's duration must be shodened.
Generally, the staccato mark is applied to quarter notes or less. The tenuto mark (-) empha-
sizes that the note should be held for its full value. Sforzando accents (>) are used to empha-
size a note's attack relative to the dynamic marking to which it is applied.

Rhythmic Exercises

ETI Chapter 3 -29

3.1 Rhythm

4.
-

- - - - -

30 - ETl Chapter 3
ETI Chapter3-31
3.1 Rhythm

ttt
11.

Rhythmic Duet

12.

32 -ETl Chapter 3
3.2 Melody

Sol-Fa Exercises

1. Do Sol Dol Do Re Mi Fa Sol Sol M¡ I

Sol La Sol Fa Mi Re Mi I DoMiDo/DoMiDo

2. Do Re Mi Do Mi Fa Sol I La Sol Do Re Mi Re Do I
Mi Fa Sol La Ti Do Sol I La Sol Fa Mi Do Re Do

3.M Re Do Mi Mi DoMi I Sol La Sol Fa Mi Re Mi I

M Do Mi Fa Sol La Ti I Do Ti La Sol Do Mi Do

Melodic Exercises
Familiarize yourself with the key of F major in both treble and bass clefs using the scales
below. Reminder: Do not write solfege in the book.

a) lrl -uéq

do re mi ta sol la sol fa mi re do ti la sol la ti do

e?e.)-lr

ETl Chapter3-33
3.2 Melody

Sing the following melodic exercises in the key of F major using the prescribed methods and
practice tips.

3.

F C7sus4
4.

34 -ETI Chapter 3
6.

Melodic Duet

a) I

I I

d t-¡ I
I

t- ?

ETl Chapter3-35
3-2 Melody

Melodic Etude

8.

Melodic Composition
Write an original melody using the elements presented in Chapter 3: eighth notes, sixteenth
notes, afticulations, and notes in the key of F. Practice singing your melody using solfege and
conducting.

36 - ETI Chapter 3
3.3 lntervals

The Major Third lnterval

The interval of the third is the building block for the construction of chords. ln this lesson,
we will focus on the major third interval. ln the major scale, this is the relationship between
-
do - m| fa la, and so/ - f/. lt is also the relationship between the root and the third of a
major triad, which was introduced in the Harmony section of Chapter 2. lt is this major third
-
relationship (do mi) that defines a scale or chord as "major" in quality.

lnterval Exercises
1. Play major thirds on your instrument or a piano and listen. lf your
instrument allows, play the two notes together as well as separately.
Intervals are also Remember to explore going both up and down when playing the interval.
úre building
blocks for chords. 2. Practice singing the major third interval. With this larger interval, singing
The ability to
up or down the distance of four half-steps might not be the most practical
recognize inter-
vals will be of route to take. Use the relationship between do and mias a guide. Sing
great help when stepwise: do re mi, or mi re do as a link connecting the major third inter-
you begin work val. As the intervals become larger, the challenge becomes greater and
ing on chord
progressions in
will require more practice time, so have patience.
this chapter.
3. Play one note on your instrument and sing a major third above and below
the note. Then play the correct interval on your instrument and check your
results.

4. Notice the major third interval between do - mi, fa - la, and sol - fi when
singing the major scale.

Diatonic lntervals of the Major Scale (Major and Minor Srds)

ex.2 Diatonic 3rds of the C Major Scale

Solfeoe:
Solfege: do re mi ta

lnterval: Major 3rd Major 3rd

Minor 3rd Minor 3rd Minor 3rd Minor 3rd

EiflChapter3-37
3.4 Harmony

T The V Chord and Chord Progression

I The relationship between sol- ti- re also represents the sound of a major
P triad. ln a major key, this is called the V chord. Sing or play so{ fi and re and
Sing the root compare with do, mi and so/. Do you hear how they are both major triads?
motion of a chord Consider that both chords have the same intervallic construction: a major
Progfessron third plus a minor third.
moving in both
di¡s6¡i6¡5-
up and down. A chord progress¡on is a musical phrase incorporating two or more chords.
This creates flex- The progression I - V - I is very common in tonal music. The following are
ibility in hearing
practical ways to work on being able to hear and sing this progression.
pitch function.

Bass Line Exercises

ln preparation for hearing chord progressions involving the I and V chords, pract¡ce singing the
following two bass lines. ln most cases, the bass line will feature the root motion of the chord
progression.

I V tvr I V tvr
C G CCC C G CCC
1.

V V
C C
<> €>

Harmonic Exercises
Listen to the I - V - I progression and sing the following:
1. Sing the root motion of the progression using solfege and/or numbers.

2. Sing each root position arpegg¡o, both ascending and descending:

do mi sol mi do; solti re ti sol; do mi sol mi do.

38 - ETI Chapter 3
 T Voice Leading Through a Chord Progression
I Voice leading is a linear (melodic) approach to learning how to sing and hear
P your way through a chord progression. This involves moving from one chord
Make sure you tone to the next with the smallest degree of movement. This voice leading
have the sound approach to harmony is often easier to sing because of the common tones
ofthe key and stepwise motion that result.
established in
your ear before
attempting the There are a variety of ways to practice voice leading. There is no substitute
*t.l;:l:: for "hands on" practice with playing the following progression on a keyboard.
Use the keyboard illustrations to help navigate your fingers over the piano
keys. Also, sing each horizontal solfege line to experience the ease of sing-
ing voice-led harmony lines. Sing the example with three other students,
each one on a line for the full harmonic result. lt is impoftant to support
these chord tone lines with the root motion for a clear and obvious statement
of the chord progression.

ex. 3 Voice Leading the I - V - I Progression

I V I

sol sol sol

mi re mi
ti do

(root motion)

t
mid,d leC

ET1 Chapter3-39
3.4 Harmony

Me ody/Harmo ny Relatio n sh i p
I
The following examples highlight the relationship of the melody with the
accompanying chord progressions. Notice that all melody notes are chord
tones. There are a few ways to practice with these examples:
1. Divide the class into two groups; one group sings the melody as the sec-
ond group sings the root motion in duet fashion. Remember to sing both
lines using solfege syllables.

2. Sing the melody as you play the root motion on piano; or, if possible, as
you play the chords on piano.

3. Try adding some voice-led parts to the melody and root motion, using the
guide from the previous Voice Leading section. The class will sound like a
full orchestra!

C
2.

C C
3.

G C G C
4.

40 -ETL Chapter 3
3.5 Solfege

lntervals of Diatonic Trichords

Practice singing the intervals of the diatonic trichords using solfege. Memorize the names of
the intervals between pitches within each trichord.

ex.4 lntervals of diatonic trichords

Major Minor Phrygian

re mi la

+
Major 2nd Major 2nd Major 2nd Minor 2nd Minor 2nd Major 2nd

Major 3rd Minor 3rd Minor 3rd

Trichord Sequence #2
Memorize the following exercise. Use solfege and conduct when performing. The tone ladder
has been provided below as a practice tool. Do NOT write the solfege underneath the notes.
Either look at the notes and translate or look at the tone ladder and try to hear the pitches.

d'
t

t.

ETI Chapter3-41
 Ear Training 1 Workbook Chapter 4

4.1 Rhythm

ln Chapter 4, we encounter pick-up notes. Pick-up notes occur before beat

one of a measure and provide impetus toward the resolution and flow of a
musical phrase.

The single eighth note and eighth rest are introduced. The eighth note value
is still one half of a beat, but now there may be a rest in place of the note.

The dotted quarter note is used in this chapter. As mentioned in Chapter 2,

the augmentation dot increases a note by half of its value. Therefore, the
dotted quarter note will receive one and a half beats.

Ties are introduced. Ties combine two or more notes of the same pitch together as a single
duration.

The repeat sign ( ll, ,l) is used to show the repetition of a measure or measures. Typically,
the measure(s) within the repeat sign are performed twice unless stated otherwise.

Rhythmic Exercises

t.
-

2.

42 -ETI Chapter 4
3.

5.

6.

ETlChapter4-43
4.1 Rhythm

7.

8. va' aa' a l l-l-----L---

----

10.

44 -ETl Chapter 4
12.

Rhythmic Duet

ETlChryter4-45
4.2 Melody

Sol-Fa Exercises

I. DO RE DO Ti DO RE Ti I DO RE M¡ SOI Mi FA SOI I
Sol Do Re Ti Do Re Mi I Fa Mi Re Ti Do Mi Sot Do

2. Mi DoReDoReTi Do/ ReMiDoReMiFaSoll

La Ti DoTi LaLaDo I La Ti DoTi LaLaDo

3. Sol Do Re Mi Do Mi Sol I Do Ti La Do Re Mi Fa I
Sol FaMi DoMi ReTi lDo LaTi DoReMi Fal
Sol Fa Sol Do La Ti Do

46 -ETt Chapter 4
Melodic Exercises
Sing the following melodic exercises in the keys of C and F major using the prescribed
methods and practice tips.

CA_

FIlChapter4-47
Melodic Duet

a ¿ J l,¿ Jo

t-

)- - - - - +-++
i

48 - ETl Chapter 4
Melodic Etude

Melodic Composition
Write an original melody using the elements presented in Chapler 4: pick-up notes, dotted
quarter/eighth-note pattern, single eighth notes and rests, articulations, and notes in the key of
F. Practice singing your melody using solfege and conducting.

ETlChapter4-49
4.3 lntervals

The Minor Third lnterval

The minor third interval is the relationship between two notes that are three half-steps apart. It
is also the relationship between the root and the third of a minor triad. Another building block
for creating chords, the minor third interval above the root defines a scale or chord as "minor"
in quality.

lnterval Exercises
1. Play the minor third interval on your instrument or a piano and listen.
lf your instrument allows, play the two notes together as well as
separately.

2. Practice singing minor third intervals. Choose a note and sing three
half-steps up or down to the resulting minor third target note. Then
practice connecting the minor third interval directly.

3. Sing major third intervals and then reduce them to minor thirds. For
example: Sing do to mi, then sing down a half-step from milo me,
creating the minor third interval. Sing do re miand then compare to
do re me.

4. Notice the minor third intervals between re - fa, mi- sol,

la - do, and fi - re when singing within the major scale.

lnterval Notation Practice

Practice writing diatonic major and minor thirds in both the treble and bass clefs in the key of
F. As you write the notes, sing the interval using the correct solfege. You can write the notes
in a different octave than you are singing.

50 - ETl Chapter 4
4.4 Harmony

The lV Chord
The lV chord, along with the I and V chords, are the three major triads found
in the major scale. Remember that the major triad consists of a major third
plus a minor third. The lV chord is fa- la- do of the major scale.

Bass Line Exercises

The following bass lines feature chord progressions involving the I and lV
chords. Practice singing going both up and down from do to fa. First con-
necting by stepwise motion makes hearing the targets, do and fa, an easier
task.
I IV rrvtrlvllvl
C F CF C C F CF C
1. fl
'"-
IV ttvttlv tlvl
B' FBhFFBb FBbF
2.

Harmonic Exercises
-
Listen to the I lV - I progression and sing the following:
1. Sing the root motion of the progression using solfege and/or numbers.

2. Sing each root position arpeggio, both ascending and descending: do mi

sol mi do; fa la do la fa; and again, do mi sol mi do.

As in Chapter 3, apply the various voice-leading practice activities, singing

and playing your way through the l-lV-l progression.

ex. 1 Voice Leadingthe l-lV-lProgression

I IV I

sol la sol
mi fa mi
do do do

do (root motion)

ET1 Chapter4-51
4.4 Harmony

Mel ody/Harmo ny Rel ati o nsh i p

Sing both the melody and chord roots using solfege. Notice the tendency pair resolutions of fa
lo mi and la to so/ in the melodies when lV moves to the I chord.

4.5 Solfege

Transposition of Diatonic Trichords

Practice singing the intervals of the transposed trichords using the diatonic solfege. Memorize
the names of the intervals between pitches within each trichord.

ex.2 Diatonictrichordstransposed

do re mi re mi la mla SO
fa SO la la t¡ do ti do re
sol la ti

e e
Major 2nd Major 2nd Major 2nd Minor 2nd Minor 2nd Major 2nd

Major 3rd Minor 3rd Minor 3rd

52 -ETl Chapter 4
Trichord Sequence #3
Memorize the following exercise. Use solfege and conduct when performing. The tone ladder
has been provided below as a practice tool. Do NOT write the solfege underneath the notes.
Either look at the notes and translate or look at the tone ladder and try to hear the pitches.

m'
t'
'ttt
d'
t
I

f
m

t.

ETlChapter4-53
 Ear Training 1 Workbook Chapter 5

5.1 Rhythm

Eighth Note Syncopation

Syncopation means "skipping over" pulse. With any rhythmic value, the
effect of displacement (strong accents in weak places) can make it hard
to feel pulse. This rhythmic effect occurs whenever there are two or more
upbeat notes attacked in succession. The consistent flow of upbeats
against the natural emphasis of the downbeats creates rhythmic tension
and momentum.

It is common practice when writing syncopation to use quafter notes on the

upbeats to create simpler, easy-to-read 2-,3- and 4-beat patterns. While this
goes against the notational "rules" of displaying the imaginary bar line in 414
time, consistent use and exposure in contemporary music have allowed the
following syncopated eighth-note patterns to become accepted.

ex. 1 Common Bth-note syncopated patterns

(2) (2) & (3) & &(2)&(3)&(4)&

ln this chapter, we explore lhe 314 time signature. (Review the conducting pattern found on
page 2.) The strong pulse in this meter is on beat one. When performing the conducting pat-
tern, slightly accentuate beat one.

The two sixteenth and one eighth note pattern (.TJ

), and its variation (,8) I
are introduced in this chapter as a new rhythmic denomination; 1st and 2nd endings are includ-
ed for form awareness.

ln Chapter 5 we introduce dynamics. As with articulations introduced in the last chapter,

dynamics arc a fundamental ingredient to making music expressive and meaningful.

ex. 2 Dynamic expressions

_p = piano (soft)
mf = mezzo forte (half as loud)
f = forte (loud)

54 -ETl Chapter 5
Rhythmic Exercises

1.

2,

3. t)
-. - -
mf

4.

ETIChapter5-55
5.1 Rhythm

8.

56 -ETl Chapter 5
12.

rnf

- -

EIlChapter5-57
5.1 Rhythm

Rhythmic Duet

mf

58 - ET1 Chapter 5
5.2 Melody

Sol-Fa Exercises

1. Mi Do Mi Fa Sol M¡ Sol La Sol Mi Re Do Mi Re I

Re T¡ Do Mi Sol La Sol FaMi ReFaReFaRel
Do Sol Mi Re Do Mi Do

Sol Fa Mi Do Re Mi Fa I Re Fa Mi Re Do Mi Sol /
Sol Fa Mi Do Re Ti Do I ReFaMiDoReT¡Dol
Re Fa Sol Mi Do Ti Do

Do Re Mi Fa Re Do Ti Do / Sol Fa Mi Re M¡ Do Re I
Mi Fa Sol Do Ti La Sol M¡ Re Mi I Fa Re M¡ Fa Re

M¡ Fa Sol Mi Re Do

ET1 Chapter5-59
5.2 Melody

Melodic Exercises
Familiarize yourself with the key of G major in both treble and bass clefs using the following
scales. Reminder: Do not write solfege in the book.

a) u-lr rl -c,
sol la ti do re mi fa sol la sol fa mi re do ti la sol la ti do

-e?e?e-

Sing the following melodic exercises in the key of G major using the prescribed methods and
practice tips.

2.

p (2ndXonly)

G E_ C D G D7 C D7 G
tlt

60 - ETI Chapter 5
 E- D7sus4 D7G
5.

? mf
f
F- A- D7 G
+
---
t--|-
l-
mf f p

tt

Í mf p

Melodic Duet

7.
a-)
f -
't I

? t: ?)*?e

p mf

I
mf
-
Í
- )tie ?C:

f f
ETlChapter5-61
5.2 Melody

Melodic Etude

Melodic Composition
Write an original melody using the elements presented through Chapter 5: dotted quarter
note/eighth note (two beat pattern), pick-up notes, single eighth notes and rests, dynamics,
afticulations, and notes in the key of G. Practice singing your melody using solfege and
conducting.

62 -ETl Chapter 5
5.3 lntervals

T Review of Seconds and Thirds

I Let's review our work with intervals of seconds and thirds.
P
Continue to
lnterval Exercises
practice singing 1. Continue to play M2nd, m2nd, M3rd and m3rd intervals on your instru-
intervals on a ment or a piano and listen. lf your instrument allows, play the two notes
routine basis.
together (harmonically) as well as separately (melodically). This "expo-
This practice
is not only
sure" routine will set the table for both singing performance and recogni-
beneficial for tion activities.
sight reading,
but fo¡ dictation
work as well.
2. Practice singing these intervals both up and down from a given pitch.
Consider the distance of half steps involved, but for the larger intervals
of 3rds, you will find it more practical to reference the major scale. For
example, for the M3rd interval, sing dolo mi; if that is challenging, link
stepwise between these two notes (do re mi).

3. Compare the sound of like intervals. For example, compare and contrast the sounds M3rd
(do to mi) and m3rd (do lo me) intervals. Back to back comparison is helpful when in
doubt.

4. Review how seconds play a role in scale construction between adjacent scale tones.
Remember that thirds are the building blocks for chord construction. Combining your theo-
retical knowledge with ear training is a dynamic duo.

5. lf you can conf¡dently sing an interval, you are more likely to recognize that same interval
when doing dictation work.

lnterval Notation Practice

Practice writing diatonic M2nds, m2nds, M3rds and m3rds in both the treble and bass clefs in
the key of G. As you write the notes, sing the interval using the correct solfege. You can write
the notes in a different octave than you are singing.

ET1 Chapter5-63
5.4 Harmony
Review of l, lV, V and introducing V7
ln this chapter we will continue our work with the l, lV and V chords, combining these
primary triads in standard chord progressions. The V7 (a dominant seventh chord) will also
be introduced.

Bass Line Exercises

It can be challenging to distinguish root motion of the I chord moving to V, compared to the
I chord moving to lV. Sing through the following six bass lines for a complete workout in hear-
ing the various possible progressions that involve all three primary chords: l, lV, and V.

I V lvtttv tvt
C F CGCCF CGC
1.
--o-A-----t -a

v7 ttvt I v7 I tvr
C7 FBbF F C7F
<>
B'F
2.

IV IV
C C

I IV v7 I I V v7 I

C F G7 C C F C7C
4.

V IV V tvt
C Bh C BbF
5.

I V I IV V7 ltvt IV V7 I

G D G CD7 GGDG CD7 G

6.

64 -ETl Chapter 5
 Harmonic Exercises
ln the previous two chapters you have worked with the I - V - l, and the
|- lV - I progressions. The following voice leading examples combine these
three chords in various ways, creating additional chord patterns to learn
and memorize. Notice also the use of the V7 chord. The solfege for V7 is
sol - ti - re - fa. Practice singing the V7 chord before working it into the
context of a progression. Let's review our practice routines:
1. Sing the root motion using solfege andlor numbers.

2. Sing root position arpeggios through the chord progression.

3. Sing the voice leading across.

4. Create duo, trio and quartet singing combinations using root motion and
voice-led lines. Keeping your part, and not being swayed by other parts
can be challenging and a very good test of your intonation and listening
skills.

5. These progressions are very common in tonal music; try to memorize

them.

ex. 3 Voice Leading examples including l, lV, V and V7

I IV I V I

sol la sol sol sol

mi fa mi re mi
do do do ti do

ETtChapter5-65
5.4 Harmony

sol
mi
do

I IV v7 I

sol la sol SO
mi fa fa mi
ti

66 -ETl Chapter I
Me ody/Harm ony Rel atio nsh ip
I

Along with singing the melody and root motion with solfege syllables, try applying some of
the voice leading practices to these examples as well. Refer to the previous section on Voice
Leading as a guide; you might want to write out the voice-led lines as a reminder.

1.

Bh C7
3.

G D G C G D7 G
4.

Tran sposition Exercise

Transpose exercise #2 (above), including both the melody and the chord changes, into the
following keys. Sing the melody in the new keys using solfege; sing the root motion using
numbers and/or solfege.

ETlChapter5-67
 Tetrachords
Tetrachords are four consecutive notes within any scale. ln the diatonic
major scale, there are seven of them do re mi fa, re mifa sol, mifa sol la,
-
fa sol la ti, sol la ti do, la ti do re and ti do re mr. Two of the tetrachords are
made of two whole steps followed by a half step in ascending order (do re
mi fa and sol la ti do) and are called lhe Major tetrachords. Two of the tetra-
chords are made of a whole step followed by a half step followed by another
whole step in ascending order (re mi fa sol and la ti do re) and are called the
Minor tetrachords. Two of the tetrachords are made of a half step followed
by two whole steps in ascending order (mifa sol la and fi do re mi ) and are
called lhe Phrygian tetrachords. Finally, one of the tetrachords is made of all
whole steps in ascending order (fa sol la ti) and is called lhe Lydian tetra-
chord.

ex. 4 Four types of diatonic tetrachords

Major Minor Phrygian

+
do mi fa re fa sol mi ta sol la fa sol la
sol ti do la ti do re ti do re mi

1/2 step 1/2 step 'll2 step

Tetrachord Sequence #1
Memorize the following exercise. Use solfege and conduct when performing. The tone ladder
has been provided below as a practice tool. DO NOTwrite the solfege underneath the notes.

(
m'
r'
d'
t
I

f
m
r

d
t.

68 - ETI Chapter 5
Ear Training 1 Workbook Chapter 6

6.1 Rhythm

Sixteenth lVofes
ln Chapter 6 we fufther explore sixteenth note rhythms. The eighth and two
sixteenth rhythm pattern ( fT )and its variation (Jl= )are common in
many styles of music. Relate the attacks of this pattern to the same attacks
as they occur in the full four-note sixteenth grouping.

For continued development with notation we will use single bar repeats ( % )
and slash notation. Slash notation ( /,/././
) is commonly used to display
the rhythms of chord comping and is also used in various percussion scoring
situations.

Exercises 4 to 11 should be performed with the specific tempo that is shown.

ex.1a 8th-note, ex. lb

two 16th-note variation
Pattern

Rhythmic Exercises

ET1 Chapter6-69
6.1 Rhythm

fast, J = 82

)=rro
5.

r."t, J = ú4

f""t,.l = 152

70 - ETI Chapter 6
 )=rro
8.
-

]=r,

)=r¡,
11.
!

ET1 Chapter6-71
6.1 Rhythm

Bhythmic Trio
ln the following exercise, we have introduced two new symbols the D.S. al coda and lhe
-
segno (X ) D.S. al coda means repeat "from the sign to the coda" sign; (D.S. = "dal segno"
Italian for from the sign). The coda sign ( -
$ ) mart<s the measure where you will "skip" to the
coda.

This exercise should be performed with three players or three groups. Use different methods
of performing (e.9., top part uses "tah and conduct," middle part "taps on desk" and bottom
paft "claps" the rhythm) so that each part can be heard distinctly.

72 -ETl Chapter 6
 D.S. al coda

The following rock groove should be performed with the class split up into groups. The groups
should simulate the sounds of the instruments indicated. Perform it several times in repetition
to acquire the rock feel.

Rock
Cymba

13.

Snare&3tomtoms

ETl Chapter 6 -73

6.2 Melody

Sol-Fa Exercises

1. Do Mi Re Fa Mi Sol La La Fa Sol i La Fa Sol I

Sol Mi Re Do Re Fa Mi Fa La Sol Fa Mi Do Re I

Fa La Sol Mi Do Ti Do

2. Do Re Mi Sol / Sol Do Re Sol / Sol Mi Re Do Re Mi Do I

Re M¡ Sol Do Re Sol Mi / Re Sol Re Do Re Sol Do

Sol Fa Mi Do Sol Fa Do I DoFaMi ReMi FaRel

Mi Sol Fa Do Fa Mi Re I Fa Re Sol Fa Do Re Mi I

Fa Do Re Fa Sol Mi Do

74 -ETI Chapter 6
Melodic Exercises
Familiarize yourself with the key of Bb major in both treble and bass clefs using the following
scales. Reminder: Do not write solfege in the book.

a) ¿éo lr rl Ué¿

do re mi fa sol a ti do re mi re do ti la sol fa mi re do

.t -.)e?e.) I

Sing the following melodic exercises in the key of Bh major using the prescribed methods and
practice tips.

G_ F sus4 F7 Bh

Very slowly

, tlt

, -tt- -- -

ETl Chapter6-75
6.2 Melody

,
3.

'p {Z"d t;*")

fp (2nd thne)

Medium slow
Bb F C_ EhF B'F
4.
- -
p
G_ Eh C- Bb

f p

76 -ETl Chapter 6
Melodic Etude
Before singing the following melodic exercise, review the form for directions, afticulations and
dynamic changes. Also, note the tempo. (Choose a tempo at which you can accurately per-
form the 16th-note rhythms with solfege.)

Slowly X
6.

mf
+

Three-Part Chorale

ri
7.
d?é rl lr 77 -7 r7 r .r 7'
\7
/) a) .)?
t_

- -

o lr rr r lr_ rr lr 7 [-- r 7r

FII Chapter 6 -77

6.3 lntervals

The Perfect Fourth lnterval

ln this lesson we'll focus on the sound of the Perfect Fourth interval.
There are several examples of the P4th interval in the major scale: do - fa,
re - sol, mi - la, sol - do, la - re, and ti- mr. We paid particular attention to
the relationship of do up lo fa, and do down to so/ when studying bass lines
that outlined chord progressions involving the l, lV and V chords.

lnterval Exercises
1. Play P4th intervals on your instrument or a piano and listen. lf your
instrument allows, play the two notes together as well as separately.
Remember to explore going both up and down when playing the interval.

2. Practice singing the perfect fourth interval both up and down from a given
pitch. Consider using the solfege relationship of do - fafor ascending
P4ths, and do- solfor descending P4ths. lf necessary, connect by
stepwise motion (do re mifa; do ti la so/) in order to insure accuracy.

3. Play one note on your instrument and sing a perfect fourth above and below the note.
Then play the correct interval on your instrument to check your results.

4. Notice the perfect foufth interval between do - fa, re - sol, mi- la, sol- do, la- re, and
ti- miwhen singing the major scale. The relationship of fa - fi is NOT a P4th, but rather
an augmented 4th interval. We will study the sound of the +4th interval in Ear Training 2.

Diatonic lntervals of the Major Scale (Perted 4ths)

ex.2 Diatonic P4ths of the C major Scale

P4th intervals:

78 -ETI Chapter 6
6.4 Harmony

lntroduction of the Minor Triad: Diatonic lll- and Vl-

ln Chapter 2, the construction of the major triad was introduced. Similarly, we can approach
the construction of the minor triad. A minor triad consists of a minor third interval between
the root and third, and a major third interval between the third and fifth of the triad. lt is the
minor third interval between the root and third that gives the chord its primary sound quality
as "minor." A minor triad can be considered as representing do, me and so/ of a minor scale.
Ear Training 2will explore minor key harmony in greater detail.

Within the major scale, there are three diatonic minor triads: ll-, lll- and Vl-. We will focus on
lll- and Vl- in this chapter. These two chords function as members of the tonic family, or sta-
ble sounds within the tonality. Each triad contains two common tones with the tonic functioning
I chord, and therefore have a similar sense of stability within the key. Spend some time listen-
ing to the two simple progressions I lll- I and I VI- l.

Bass Line Exercises

Sing the following two bass lines that now include the lll- and Vl- triads. Create some of your
own progressions that include these two minor triads and write a bass line for them. The more
chords we incorporate into creating diatonic chord progressions, the more the list of possibili-
ties increases.
I vt- IVV I I vt- tv v7 I

G E_ co7 G G E_ C»7 G

1.

I ilt- vt- v7 I I ilt- vt- v7 I

B' D_ G_ F7 Bb Bb D_ G_ F7 Bb

2.

Harmonic Exercises
1. Play minor triads on your instrument or a piano and listen. While playing
the triad, sing the arpeggio version: root, minor third and fifth.
Comparing dre
sounds ofparallel 2. Compare the sounds of major and minor triads. Note that it is the third of
major and minor the chord that is the distinctive tone. Sing "do, mi, sol" and compare with
uiads helps "do, me, sol."
to bring out
dieir distinctive
sound quality. 3. Continue to practice our workout routines with chord progressions: sing-
ing root position arpeggios; playing and singing through the voice leading
activities, and of course, always applying solfege. Within the following
progressions, you will hear a mix of major and minor triads: pay attention
to these comparative features as you perform.
FI1 Chapter 6 -79
6.3 Harmony

ex. 3 Voice Leading examples including Vl- and lll-

I ilt- IV V I

sol sol la sol sol

mi mi fa re mi
do ti do ti do

mt fa

I vt- IV V I
sol la la sol sol
mi mi fa re mi
do do do ti do

e)
3b.

do la fa sol do

I V VF IV I

sol SO la la sol
mi re mi fa mi
do ti do do do

a)
3c.

do sol la fa do

ilt- vt- IV V I
ti do do t¡ do
sol la la sol sol

80 - ETl Chapter 6
Mel ody/Ha rm ony Re I ati o nsh i p
Continue to recognize the close relationship between melody and the accompanying chords.

C A- G7 C A_ F G7
2.

E_ A- G7 C A- G7
tt
4. ¡

ETlChapter6-81
6.5 Solfege

T T ran sposi n g Tetrac hord s

I When we transpose the four diatonic tetrachords, the intervals within them
P remain the same. The Major, Minor and Phrygian tetrachords still contain a
Review the half step, while the Lydian tetrachord contains all whole steps. ln fact, one of
transposed the main reasons for transposing is to hear these intervals more clearly.
trichords from
Chapter 4,
p.52 before
Practice singing the transposed tetrachords using the solfege provided in
working on the example 4. Use stepwise motion up and down, as well as alternating thirds
transposed tetra- when singing these tetrachords.
chords

ex. 4 Diatonic tetrachords transposed lnterval Key: M=major; m:minor;

P = perfect; + = augmented

Major Minor Phrygian Lydian

e e e e
do remfa re mi fa sol mi fa sol la fa SO

la ti do re ti do re mi
I l\..,-l I \.,/l ll I L__lL__lL__l
M2 m2 M2 m2 M2 M2 M2 M2 M2
I L-l I
lll rlrl
rm3m3r rm3M3r M3 M3
P4 P4 +4

Tetrachord Sequence #2
Memorize the following exercise. Use solfege and conduct when performing. DO NOTwrile
the solfege underneath the notes.

m
t'
d'
t
I

f 11

m
I
d
t.
t,

82 - ETI Chapter 6
Ear Training 1 Workbook Chapter 7

7.1 Rhythm

Sixteenth Note Patterns; Two-Bar Repeats

ln Chapter 7 we introduce two common one-beat 16th-note patterns: dotted
8th-note followed by a 16th-note, and the four 16th-note pattern with a rest
on the first partial.

ex. 1

Observe the similarity between this 4-beat )

pattern J

and this 2-beat pattern ) .¡

and this 1-beat pattern.

Each pattern has a 3 to 1 ratio.

Observe the similarity between these 4-beat patterns:

ex.2 J JJ
't ) ,rl
at
1

The multiple repeat sign ( )4 ) is used in exercises 7 and 9; this sign indicates that the previ-
ous two (sometimes more) measures are to be repeated exactly. Note: multi-measure repeat
signs are displayed across the barline between two measures (but never split between sys-
tems). They are accompanied by a number indicating the number of measures to be repeated.

ET1 ChapterT-83
7.1 Rhythm

Rhythmic Exercises

2.

4.

84 - ET1 Chapter 7
 J=rro

.l= rt

mf

)=»e

Two-Part Exercise
This exercise should be performed individually. There's a variety of ways to do this, including:
tap the top line with one hand and the bottom line with the other, or sing the top using "tah"
while clapping the bottom.

ETI ChapterT-85
 D.S. al coda

ETl ChapterT -87

7.1 Rhythm

As in Chapter 6, split the parts of this syncopated rock beat among the class; repeat it several
times before proceeding to the final measure.

Rock

Cymbal \
12.

88 - ETI Chapter 7
7.2 Melody

Sol-Fa Exercises

1. M¡DoTiDoMiTiDol Sol La Fa Mi Ti Re Do I

ReFaMi DoReFaMi I TiReMiTiMiReDol

Fa Re Sol Mi Ti Re Mi I Mi Ti Re Sol Mi Ti Do

Sol Mi Sol La Sol Mi Sol lLa Mi Sol I La Mi Sol I

Mi Do Re Fa Mi La Sol I La ReMi DoReTi Do I
Sol La Fa La Mi Re Ti Do Mi Sol Do

DoTiReM¡TiReDol FaM¡ FaDoReMi Rel

Mi La Sol Mi Do Re Fa I La Sol La Mi Re Mi Do I

Re Fa La Fa Mi La Sol I La Mi Fa Mi Ti Re Do

ETl ChapterT-89
7.2 Melody

Melodic Exercises
Familiarize yourself with the key of D major in both treble and bass clefs using the following
scales. Reminder: Do not write solfege in the book.

a) I
t'tl a,

do re m fa sol la ti doti a sol fa mi re do

Sing the following melodic exercises in the key of D major using the prescribed methods and
practice tips.

rnf

Slowly
D A/ sus4

F#- E_ A7 sts4
-t--^

mf

90 - ETl Chapter 7
 Fast
x
4.

f f Grtand3rdü*rr)
Fine

D.S, al Fine

A7sus4 A7 F#- E- A7 D

E- A7 F#_ B- E_ A7 Ffr_ B_ G E- A7sus4 D

p rnf

ETI ChapterT-91
7.2 Melody

Four-Part Chorale
Slowl¡ smoothly

7 -l'
I

7.
aJ
p7 7 7

-l _l -l ) -l I r rll

Melodic Etude
Before singing the following melodic exercise, review the form for arliculations and dynamic
changes. (Choose a tempo at which you can accurately perform the changing subdivisions,
pitches and solfege.)

A7sus4

D/Fil

cnf
D ICil G /Fil E-7 A7 sus4D E_ A7

92 -ETl Chapter 7
7.3 lntervals

T The Perted Fifth lnterval

T ln this lesson we'll focus on the sound of the Perfect Fifth interval. There are
P several examples of the P5th interval in the major scale: do - sol, re - la,
Spend time
mi - ti, fa - do, sol - re, and la - mi. The perfect fifth interval is the inversion
comparing the of the perfect fourth interval; consequently, they are often confused for one
inversion rela- another. For example, with the chord progression, ll- V I introduced in the
tionship of per-
Harmony section of this chapter, explore the different options of re up to so/
fec- 4rh a¡d 5úr
intervals when
(P4th) then resolving down lo do (Psth), or, re down to so/ (Psth) then up to
singing the root do (P4th).
motion of chord
progressions.

lnterval Exercises
1. Play PSth intervals on your instrument or a piano and listen. lf your instrument allows, play
the two notes together as well as separately. Remember to explore going both up and
down when playing the interval.

2. Practice singing the perfect fifth interval both up and down from a given pitch. Consider
using the solfege relationship of do- solfor ascending P5ths, and so/ - dofor descending
P§ths. lf necessary, connect by stepwise motion (do re mi fa sol; sol fa mi re do) in order to
insure accuracy.

3. Play one note on your instrument and sing a perfect fifth above and below the note. Then
play the correct interval on your instrument to check your results.

4. Notice the perfect fifth interval between do - sol, re - la, mi- ti, fa- do, sol- re, and
la- mi, when singing the major scale.
5. Practice comparing Psths with their inversion partners, P4ths. lnversions will be further
explored in Ear Training 2.

lnterval Notation Practice

Practice writing diatonic P4ths and P5ths in both the treble and bass clefs in the key of Bb.
As you write the notes, sing the interval using the correct solfege. You can write the notes in
a different octave than you are singing.

ETI ChapterT -93

7.4 Harmony

ll- and Vsus4

ln Chapter 6, the minor triad was introduced. The following progressions will
now incorporate the diatonic ll- triad. Unlike lll- and Vl-, the function of the
ll- chord is not stable; its function is nontonic and sets up the need for
resolution.

A unique structure, the Vsus4 chord is not constructed of thirds. The term
"sus" stands for suspended; traditionally, the suspended fourth above the
root resolved to the major third of the V chord. ln contemporary harmony,
this resolution does not always occur. The "tension" quality of this chord
sound lies somewhere between that of the ll- and V chords; its function is
certainly non-tonic and sets up a strong need for resolution.

Bass Line Exercises

This chapter introduces the ll- and Vsus4 triads. Sing through the following two bass lines.
Notice the bass line does not help to distinguish between the V and Vsus4 chords; you will
need to pay additional attention to the upper notes of each chord.

I vt- v7 I Vl- ll- v7 I

Bb G_ F7 Bb G_ C_ F7 Bb

I IV Vsus4 VIIIV Vsus4 VI

D G Asus4 ADDG Asus4 AD
2.

Harmonic Exercises
1. Continue with the same exercises from Chapter 6 in regards to the minor triad sound.

2. Play the Vsus4 triad on your instrument or a piano and listen; play the Vsus4 triad, followed
by the V chord in order to hear the resolution of the suspended fourth to the third.

3. Compare the two progressions: l, V, I with l, Vsus4, l. Also, listen to: l, Vsus4,V, l.lt is the
presence of do or fi that makes the difference when comparing Vsus4 with the V chord.

4. Voice lead through the following three progressions, a familiar routine at this point in our
study of hearing chord movement. Consider how often tendency tone resolutions occur as
we voice lead: for example when moving from V7 to l, the resolution of falo mi and tilo do.

94 -ETl Chapter 7
ex. 3 Voice Leading examples including ll- and Vsus4

I vt- il- V I
SO la la sol sol
mi mi fa re mi
do

I IV v7 I

sol la sol sol

mi fa fa mi
do do ti do

I il- ilt- vl- lV Vsus4 I

sol la ti do do do do
mi fa sol la la sol sol
do re mi mi

3c.

re mi la sol do

FII Chapter 7 -95

7.4 Harmony

Mel ody/ Harm ony Relatio nsh ip

Continue to notice how the majority of melody notes are chord tones. Circle any melody note
that is not a chord tone; notice these non-chord tones will always resolve by step and are con-
sidered embellishment notes.

D_ G_ C7 D_ Bb Csus4 F

1.

D_ Eb F7 Bb Fsu s4 F7 Bh
4.

7.5 Solfege

Triad Sequence #l
Memorize the following exercise. Use solfege and conduct when performing.
Reminder: Do not write the solfege underneath the notes.

S,
L
m'
I
d'
t
I

S
f
m
r
d
t.
t,

96 - ETI Chapter 7
Ear Training 1 Workbook Chapter I

8.1 Rhythm
Sixteenth Note Rhythms; Dynamic Wedges
ln this chapter we will continue working on 16th-note rhythms. We will
study the 16th-8th-16th-note grouping and its variation (examples 1a
and 1b), and the 1Gth{otted 8th-note grouping (example 2).

q
ex. 1a 1b 'l
e(&) a e(&)a

ex.2
e(& a)

To further expand our knowledge of musical expression, we will introduce dynamic wedges,
which are used to indicate a crescendo (< ) or decrescendo ( ).

ln exercise 10, da capo (D.C.) is used; da capo means "from the beginning."
-

Rhythmic Exercises

ETl Chapter8-97
8.1 Rhythm

4.

5.

p
5

mf

mf

98 - ETI Chapter 8
 l=rt

-P

)=se
8.
-
mf

)=ro+

ETl Chapter8-99
8.1 Rhythm

Rhythm Etude
J= ,oo-r,
10.

-nf
p
-mf

D,C. al Fine

Mixed Meter Rhythmic Exercise

Conduct through the exercise without performing the rhythm to review your conducting pat-
terns. After you can feel the changing patterns comfortably and conduct the meter changes
without effort, try to perform the exercise with the rhythm as written.

11.
-

100 - ETI Chapter 8

8.2 Melody

Sol-Fa Exercises

I. Mi ReLa DoReMi Fa ReLa Do I

Sol La Fa Mi La Sol Re / Mi Ti Re Do Sol La Mi

ReLaRe/Mi DoMi ReLaTi DoMi Sol Rel
Mi Ti Re La Ti Re Do

2. DO FA DO Mi DO Ti DO / Mi SOI FA Ti DO Mi SOI I
Fa La Mi I Fa La Mi ReTi Fa M¡ I

Fa Ti Do Re Fa Ti Mi / Re Fa La Sol Fa Ti Do Sol Re Do

3. Do Re La Mi Re Fa La Sol Mi Re I

Mi T¡ DoMi Ti FaMi ReDoRel

Sol La Mi Re Do Re Ti Fa Mi Re I

Re La Sol Re Do Fa Mi Re La Sol I

La Mi Re Do La Mi Ti Fa Mi Do

ETIChapterS-101
8.2 Melody

Melodic Exercises
Sing the following melodic exercises using the prescribed methods and practice tips. This final
chapter is a review of all the keys covered in Ear Training 1: C, F, G, Bh and D.

A-7 D-7 G,/ sus4

G7C

D.C. al Fine

Slowly G D7 G D7
3.

f
p(2ndtime)
D7 C D7

p
f ¡zodt;*r)
G E_ D7 B_ G D7
II

-JL

f
p (2nd tirne)

13 G D7 E_ D7 B_ G
I
'-1 I

? (zndt;me)
-j

102 - ETl Chapter 8

4.
-

-*f

Chorale
Slowly

I
-
ra .7.. -7r -.r r rr -.r 7'r
_t. )-r l-lr tl -ltr _t )) _l ).

ETlChapterS-103
8.2 Melody

Mixed Meter Melodic Exercise

At first, the following exercise should be performed using the "tah and conduct" technique
(rhythm only). After you can conduct the meter changes without effort, then try to perform the
melody with the rhythm as written.

Slowly

l-l ll'-

Melodic Etude
Before singing the following melodic exercise, review the form for directions, articulations and
dynamic changes. Choose a tempo at which you can accurately perform the changing subdivi-
sions, pitches and solfege.

o mf
I3 rit.

___

104 - ETI Chapter 8

8.3 lntervals

T Interval Review
I Let's conclude our studies of 2nds, 3rds, 4ths and Sths in this final chapter,
P reviewing practice routines we've established throughout this book. We will
Learning to
continue our intervallic studies in Ear Training 2, covering 6ths, Tths and the
hear intervals tritone (aug4ldim5) i nterval.
independent ofa
tonal center can
lnterval Exercises
be challenging.
It to
is helpful
1. Continue to play these simple intervals (contained within an octave) on
¡eGrence familiar your instrument or a p¡ano and listen. lf your instrument allows, play the
nrnes for their two notes together (harmonically) as well as separately (melodically).
opening intewal.
This "exposure" routine will set the table for both singing performance
Choose tunes
that demonstrate and recognition activities. Remember to explore going both up and down
both ascending when playing the interval melodically.
and descending
o<amples of the
interval.
2. Practice singing these intervals both up and down from a given pitch.
Consider the distance of half steps involved, but for the larger intervals,
you will find it more practical to reference the major scale. For example,
for the perfect fourth interval, consider using the solfege relationship of
do- fafor ascending P4ths, and do- solfor descending P4ths. lf nec-
essary, connect by stepwise motion (do re mifa; do ti la so/) in order to
insure accuracy.

3. Compare the sound of like intervals. For example, compare and contrast the sounds of
M3rd (do re mi) and m3rd (do re me) intervals. Contrast the P4th interval with its inversion
paftner, the P5th. Back to back comparison is helpful when in doubt.

4. Notice how these various intervals play a role within the scale. For example, the relation-
ship of adjacent scale tones, are they M2nds or m2nds? Your theoretical knowledge can
often assist your ear training studies.

5. For now, we have referenced the major scale a great deal with our practice of hearing and
singing intervals. With further practice, you will learn to hear these intervals in a "pure"
sense, independent of scale referencing. That ability is more challenging and will come with
practice and experience.

6. lf you can confidently sing an interval, you are more likely to recognize that same interval
when doing dictation work.

ETlChapter8-105
8.4 Harmony
Vllo and Review of Diatonic Triads
The remaining diatonic triad is Vll"; its function is also non-tonic. The construction of a dimin-
ished triad is symmetrical, consisting of minor third intervals between the root and third, and
third and fifth of the chord. The Vll" chord is fi - re - fa of the major scale.

Bass Line Exercises

ln this final chapter we explore the diatonic cycle 5 pattern, incorporating all seven diatonic
triads and V7. Sing through the following two bass lines to familiarize yourself with this very
common progression.

I IV vll' ilt- vt- il- vv7 I

C F Bo E,_ A_ D_ GG7 C
ttt ttt
t.
- A-

IV vll" ilt- vt- il- vv7

ec
I I

F Bo E_ A_ D_ GGTC
at
a¡

vll' vt- il- Vsus4 V I

c#o B_ E_ Asus4 A D

I IV vll' ilt- vt- lt- Vsus4 VI

D
(r G c#o Fil_ B- E_ Asus4 AD
<>
II

106 - ETl Chapter 8

 T Harmonic Exercises
I 1. Play diminished triads on your instrument or a piano and listen. While
P playing the triad, sing the arpeggio version: root, minor third and dimin-
Notice drat the ished fifth.
MIo triad repre-
sents the upper 2. Compare the sounds of minor and diminished triads. ln this comparison,
th¡ee notes of
the V7 chord
it is the fifth of the chord that is the distinctive tone. Sing "do, me, sol"
and therefore has and compare with "do, me, se." "Se" is the solfege syllable for b5,
a similar pronounced "say."
function of
dominant within
the key.
3. Establish a major key setting by singing the scale. Then extract "ti, re, fa"
which represent the Vll'triad.

T Review of Diatonic Triads

I When it comes to creating diatonic chord progressions, the possibilities are
P many. Consideration of root motion, chord color, cooperation with the mel-
Research existing ody, and the balancing of stable and unstable chords within the tonality are
ái2tonic tunes as important ingredients when building a "workable" chord progression.
good models for
your own com-
positions.
The progressions presented in previous chapters represent but a few of the
many possibilities. Experiment with creating some of your own, applying the
voice leading exercises that have been suggested.

Perhaps one of the most popular patterns, the following progression uses the constant pattern
of diatonic cycle 5 root motion, sometimes referred to as the "circle of Sths." Note that within
this cycle, it is a diminished fifth interval between the lV and Vllo chords. You can practice this
pattern stafting anywhere within the cycle, or simply use a portion of the cycle.

ex. 3 Voice Leading example including all diatonic triads and V7

I tv uto ilF vl- ll- v v7 I

sol la ti ti do re re re do
mi fa fa sol la la ti ti sol
do do re mi mi fa sol fa mi

ET1 ChapterS-107
8.4 Harmony

Me I ody/Harmo ny Relat io n shi p

As you begin to compose your own chord progressions and melodies,
remember the close relationship between the two: in most cases, most
melody notes will be chord tones.

Bb D_ Eb F7 G_ Ao Bh

E_ A- Gsus4 A_ F C7 C
2.

D C Asus4 B- E_ Ffi_ D
4. ll

108 - ETI Chapter 8

8.5 Solfege

Tetrachord Sequence #3
Before attempting to sing this exercise, practice hearing the root motion of
the tetrachords. DO NOT write solfege in the book.

Triad Sequence #2
ln the following exercise, you may find that a register shift other than where written is essential
to complete the cycle comforlably and in tune. Know where to shift for your voice type, and
practice making a smooth transition.

Note: You may find transposition to another key easier for your voice type. Learn the solfege
thoroughly first. Once you've accomplished this task, choose a comfortable key center and try
singing the sequence. Work slowly at first, then gradually increase the tempo.

d'
t
I

t
-
m

I
d
t.
I3
t.
S.

ET1 ChapterS-109
110 - ETl