Eyes-Ears-sight-singing

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2
Copyright c 2004 Benjamin Crowell
All rights reserved.
rev. August 25, 2004
Permission is granted to copy, distribute and/or modify this document under the terms of the Creative
Commons Attribution Share-Alike License, which can be found at creativecommons.org. The book’s
web site,
www.lightandmatter.com/sight/sight.html,
provides the book for downloading free of charge, and also gives further details about the copyrights
of the individual melodies.
Brief Contents
I Rhythm 13
I-1 Whole, Half, and Quarter Notes 13
I-2 3/4 Time, and Dotted Half-Notes 14
I-3 Eighth Notes 14
I-4 Dotted Quarter Notes 14
I-5 Sixteenth Notes 15
I-6 Dotted Eighth Notes 15
I-7 Compound Time 16
I-8 Syncopation 16
I-9 Triplets 16
II Major Keys 17
II-1 Introduction to Solfeggio 17
II-2 Melodies Containing Only Steps 19
II-3 Leaps to ‘Do’ 25
II-4 Leaps Back to Remembered Notes 25
II-5 Easy Leaps Within the Tonic Triad 27
II-6 The Leap of a Fifth Within the Tonic Triad 31
II-7 Leaps of a Sixth Within the Tonic Triad 32
II-8 Leaps Within the Dominant 34
II-9 Wider Leaps Within the Dominant 40
2
III Minor Keys 47
III-1 Solfeggio in the Minor Mode 47
III-2 Steps 49
III-3 Leaps Within the Tonic Triad 52
III-4 Leaps Within the Dominant 55
IV Other Diatonic Materials 63
IV-1 Leaps Between the Tonic and Dominant 63
IV-2 Leaps Within the Subdominant, Major Keys 65
IV-3 Wide Leaps Within the Subdominant 75
IV-4 Leaps Within the Subdominant, Minor Keys 77
IV-5 Leaps of a Seventh 80
IV-6 Other Perfect Fourths and Fifths 84
IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale 90
V Nondiatonic Materials 93
V-1 Secondary Dominants and Lower Neighbor Tones 93
V-2 Blue Notes 102
V-3 Relative Minor and Major 104
VI The C Clef 107
3
Contents
I Rhythm . . . . . . . . .13
I-1 Whole, Half, and Quarter
Notes . . . . . . . . . . . . . . . .13
1 rhythm of Twinkle Twinkle, Little Star, 4/4 . 13
2 rhythm of Little Brown Jug, 4/4 . . . . . 13
3 rhythm of Bingo, 4/4 . . . . . . . . . . 13
4 rhythm of Rain, Rain, Go Away, 4/4 . . . . 13
5 rhythm of O Come, All Ye Faithful, 4/4 . . 13
I-2 3/4 Time, and Dotted Half-
Notes . . . . . . . . . . . . . . . .14
6 rhythm of We Three Kings, 3/4. . . . . . 14
7 rhythm of Take Me Out to the Ball Game, 3/414
I-3 Eighth Notes . . . . . . . . .14
8 rhythm of O Little Town of Bethlehem, 4/4 . 14
9 rhythm of We Wish You a Merry Christmas,
3/4 . . . . . . . . . . . . . . . . . . 14
10 rhythm of This Old Man, 4/4 . . . . . . 14
11 rhythm of Hush Little Baby, 4/4 . . . . . 14
I-4 Dotted Quarter Notes . . . .14
12 rhythm of Jingle Bells, 4/4 . . . . . . . 14
13 rhythm of Jimmy Crack Corn, 4/4 . . . . 14
14 rhythm of Away in a Manger, 3/4 . . . . 15
15 rhythm of Rockabye Baby, 3/4 . . . . . 15
16 rhythm of Home On the Range, 3/4 . . . 15
I-5 Sixteenth Notes. . . . . . . .15
17 Tchaikovsky, rhythm of trepak from The
Nutcracker, 2/4 . . . . . . . . . . . . . 15
I-6 Dotted Eighth Notes . . . . .15
18 rhythm of Alouette, 4/4 . . . . . . . . 15
19 Tchaikovsky, rhythm of waltz of the flowers
from The Nutcracker, 3/4 . . . . . . . . . 15
20 rhythm of I’ve Been Working on the Rail-
road, 4/4 . . . . . . . . . . . . . . . 15
I-7 Compound Time . . . . . . .16
21 rhythm of Here We Go Round the Mulberry
Bush, 6/8 . . . . . . . . . . . . . . . 16
22 rhythm of The Itsy-Bitsy Spider, 6/8 . . . 16
23 rhythm of Pop Goes the Weasel, 6/8 . . . 16
24 rhythm of Row, Row, Row Your Boat, 12/8 16
I-8 Syncopation . . . . . . . . . .16
25 Joplin, rhythm of The Entertainer, 2/4 . . 16
I-9 Triplets. . . . . . . . . . . . .16
26 Tchaikovsky, rhythm of march from The
Nutcracker, 4/4 . . . . . . . . . . . . . 16
II Major Keys. . . . .17
II-1 Introduction to Solfeggio . .17
II-2 Melodies Containing Only
Steps . . . . . . . . . . . . . . . .19
27 C, 4/4 . . . . . . . . . . . . . . . 19
28 C, 4/4 . . . . . . . . . . . . . . . 19
29 C, 3/4 . . . . . . . . . . . . . . . 19
30 Beethoven, Ode to Joy, C, 4/4 . . . . . 19
31 G, 3/4 . . . . . . . . . . . . . . . 19
32 G, 3/4 . . . . . . . . . . . . . . . 19
33 carol (Bohemia), D, 4/4 . . . . . . . . 20
34 Bach, Chorale, ‘Herr, wie du willst, so
schick’s mit mir’, A, 4/4 . . . . . . . . . 20
35 Latour, The Beautiful Angel, E, 6/8 . . . 20
36 Lewis, B, 3/4 . . . . . . . . . . . . 20
37 B, 4/4 . . . . . . . . . . . . . . . 20
38 Lewis, B, 4/4 . . . . . . . . . . . . 20
39 E, 3/4 . . . . . . . . . . . . . . . 20
40 A, 4/4 . . . . . . . . . . . . . . . 21
41 D, 4/4 . . . . . . . . . . . . . . . 21
42 G, 4/4 . . . . . . . . . . . . . . . 21
43 G, 6/8 . . . . . . . . . . . . . . . 21
44 C, 4/4, 1 . . . . . . . . . . . . . . 21
45 C, 3/4 . . . . . . . . . . . . . . . 21
46 G, 4/4 . . . . . . . . . . . . . . . 22
47 Lewis, C, 4/4 . . . . . . . . . . . . 22
48 Lewis, C, 4/4 . . . . . . . . . . . . 22
49 Lewis, C, 6/8 . . . . . . . . . . . . 23
50 Lewis, B, 4/4 . . . . . . . . . . . . 24
II-3 Leaps to ‘Do’ . . . . . . . .25
51 G, 3/4 . . . . . . . . . . . . . . . 25
52 F, 3/4 . . . . . . . . . . . . . . . 25
II-4 Leaps Back to Remembered
Notes . . . . . . . . . . . . . . . .25
53 C, 4/4 . . . . . . . . . . . . . . . 25
4
54 Bach, Chorale, ‘Seelenbr¨autigam, Jesu,
Gottes Lamm’, A, 4/4 . . . . . . . . . . 25
55 Bach, Chorale, ‘Jesu, meiner Seelen Wonne’,
A, 4/4. . . . . . . . . . . . . . . . . 25
56 G, 4/4 . . . . . . . . . . . . . . . 26
57 folk song, C, 3/4 . . . . . . . . . . . 26
II-5 Easy Leaps Within the Tonic
Triad . . . . . . . . . . . . . . . .27
58 Beethoven, opening theme of Symphony #3
(‘Eroica’), E, 3/4 . . . . . . . . . . . . 27
59 Scarlatti, Su, Venite a Consiglio, G, 3/4 . . 27
60 Latham, Broadway Sights, A, 6/8 . . . . 27
61 A la Claire Fontaine (France), F, 2/4 . . . 27
62 Pergolesi, aria ‘Sancta Mater’ from Stabat
Mater, G, 4/4. . . . . . . . . . . . . . 27
63 Sullivan, E, 6/8 . . . . . . . . . . . 27
64 A Recouvrance (France), F, 4/4 . . . . . 28
65 Froebel, Pat-a-Cake, C, 12/8 . . . . . . 28
66 Carmela (Mexico), E, 4/8 . . . . . . . 28
67 My Father, How Long? (Florida), F, 4/4 . 28
68 Bach, Chorale, ‘Es ist gewisslich an der Zeit’,
B, 4/4 . . . . . . . . . . . . . . . . 28
69 Annie Laurie, C, 4/4. . . . . . . . . . 29
70 Luther, We Come Unto Our Father’s God,
G, 4/4. . . . . . . . . . . . . . . . . 29
71 Lawlan’ Jenny (Scotland), D, 3/4 . . . . 29
72 Foster, Hard Times Come Again No More,
E, 4/4 . . . . . . . . . . . . . . . . 29
73 Weston, Row, Burnie, Row, E, 2/4 . . . 30
74 En Revenant d’Auvergne (France), B, 2/4. 30
75 Entendez-Vous Sur l’Ormeau (France), F,
4/4, 1 . . . . . . . . . . . . . . . . . 30
II-6 The Leap of a Fifth Within
the Tonic Triad . . . . . . . . . .31
76 Dans la Forˆet Lointaine (France), F, 2/4. . 31
77 The Beggar Girl (England), F, 6/8 . . . . 31
78 Hawthorne, Home, By and By, F, 4/4. . . 31
79 Froebel, Beckoning the Pigeons, G, 3/8 . . 31
II-7 Leaps of a Sixth Within the
Tonic Triad. . . . . . . . . . . . .32
80 As-Tu Vu la Casquette? (France), G, 2/4 . 32
81 Praise, Member (South Carolina), G, 2/4 . 32
82 Froebel, Beckoning the Chickens, F, 2/4. . 32
83 folk song, G, 2/4 . . . . . . . . . . . 32
84 Poor Rosy (South Carolina), G, 2/4 . . . 32
85 Poor Rosy (South Carolina), C, 2/4 . . . 33
86 Wrighton, The Dearest Spot on Earth, B,
4/4 . . . . . . . . . . . . . . . . . . 33
87 Absent Davie (Scotland), D, 4/4. . . . . 33
88 A, 4/4 . . . . . . . . . . . . . . . 33
89 B, 3/4, 1 . . . . . . . . . . . . . . 33
II-8 Leaps Within the Dominant 34
90 Mozart, allegro from ‘Eine kleine Nacht-
musik’, F, 4/4 . . . . . . . . . . . . . 34
91 folk song, G, 3/4 . . . . . . . . . . . 34
92 Derri`er’ Chez Nous il y a Trois Fleurs
(France), G, 2/4. . . . . . . . . . . . . 34
93
¨
Annchen von Tharau (Germany), G, 3/4. . 34
94 Ah! Mon Beau Chˆateau! (France), A, 2/4 . 34
95 Ainsi Font, Font, Font (France), G, 2/4 . . 35
96 Husband, Revive Us Again, C, 3/4 . . . . 35
97 Mozart, aria (Papageno) from ‘The Magic
Flute’, G, 2/4 . . . . . . . . . . . . . . 35
98 Sch¨ onster Schatz, Mein Engel, D, 3/4. . . 35
99 Down in the Valley, C, 9/8 . . . . . . . 35
100 Musieu Bainjo (Louisiana), G, 2/4 . . . 35
101 Brother, Guide Me Home (Tennessee), A,
4/4 . . . . . . . . . . . . . . . . . . 35
102 Serenata (California), B, 2/2 . . . . . 36
103 Mozart, adagio from string quartet # 1, G,
3/4 . . . . . . . . . . . . . . . . . . 36
104 Bach, Chorale, ‘Es spricht der Unweisen
Mund wohl’, B, 4/4 . . . . . . . . . . . 36
105 Beuttner, Es kam ein treuer Bote, F, 4/4 . 36
106 Bach, Chorale, ‘Valet will ich dir geben’, D,
4/4 . . . . . . . . . . . . . . . . . . 36
107 Bach, Chorale, ‘Wie bist du Seele in mir so
gar betr¨ ubt’, G, 4/4 . . . . . . . . . . . 36
108 Gardez Piti Milatte-l`a (Louisiana), B, 4/4 37
109 Shout On, Children (Georgia), A, 2/4 . . 37
110 Schubert, Wohin?, G, 4/8 . . . . . . . 37
111 Bach, Chorale, ‘Liebster Jesu, wir sind hier’,
G, 4/4. . . . . . . . . . . . . . . . . 37
112 Haydn, menuet Oxford symphony, G, 3/4. 37
113 Bach, Chorale, ‘Mach’s mit mir, Gott, nach
deiner Gut’, D, 4/4 . . . . . . . . . . . 38
114 Schubert, Halt!, C, 6/8 . . . . . . . . 38
115 Holst, Venus theme from The Planets, D,
3/4 . . . . . . . . . . . . . . . . . . 38
116 Serenata (California), B, 2/2 . . . . . 38
117 If Your Foot Is Pretty, Show It (United
States), D, 3/8 . . . . . . . . . . . . . 38
5
118 G, 3/4 . . . . . . . . . . . . . . . 39
II-9 Wider Leaps Within the
Dominant . . . . . . . . . . . . .40
119 Bates, America the Beautiful, C, 4/4 . . 40
120 Aux Marches du Palais (France), F, 6/8 . 40
121 Bach, Chorale, ‘Herr, wie du willst, so
schick’s mit mir’, A, 4/4 . . . . . . . . . 40
122 Arlequin Tient Sa Boutique (France), A,
2/4 . . . . . . . . . . . . . . . . . . 40
123 Ballade de Roland (France), G, 6/8 . . . 41
124 folk song, G, 6/8 . . . . . . . . . . 41
125 Tu Eres Mas Bella (Costa Rica), F, 2/4 . 41
126 Praise, Member (South Carolina), G, 2/4 . 41
127 Wach’ Auf, Mein Hort, F, 6/8 . . . . . 42
128 Barbara Allan (Scotland), B, 4/4 . . . . 42
129 Haydn, finale, London symphony, D, 4/4 . 42
130 Dans Notre Jardin (France), F, 2/4 . . . 42
131 The Gypsy Warning (Missouri), E, 3/4 . 42
132 Jungfr¨aulein, Soll Ich Mit Euch Gehn, F,
4/4 . . . . . . . . . . . . . . . . . . 43
133 Strauss, Not Yet, A, 6/8 . . . . . . . 43
134 Ah, Suzette, Ch`ere (Louisiana), E, 3/4 . 43
135 La Paloma Blanca (Arizona), F, 6/8 . . . 44
136 Schubert, Das Wandern, B, 4/8 . . . . 44
137 Chill Ether (Scotland), E, 3/4 . . . . . 44
138 folk song, A, 3/4 . . . . . . . . . . 44
139 folk song, A, 6/8 . . . . . . . . . . 45
140 Bach, Chorale, ‘Nun ruhen alle Walder’, B,
4/4 . . . . . . . . . . . . . . . . . . 45
141 Bach, Chorale, ‘Wenn wir in h¨ ochsten
N¨ oten sein’, G, 4/4 . . . . . . . . . . . 45
142 The Duke of Argyle’s Courtship (Scotland),
D, 3/4. . . . . . . . . . . . . . . . . 45
143 Samuel, The Fairy Boat, G, 2/4 . . . . 45
144 Gar Lieblich Hat Sich Gesellet, F, 2/4 . . 46
145 B, 4/4, 1 . . . . . . . . . . . . . 46
III Minor Keys . . . .47
III-1 Solfeggio in the Minor
Mode . . . . . . . . . . . . . . . .47
III-2 Steps . . . . . . . . . . . . .49
146 a, 4/4 . . . . . . . . . . . . . . . 49
147 a, 6/8 . . . . . . . . . . . . . . . 49
148 a, 3/4 . . . . . . . . . . . . . . . 49
149 a, 3/4 . . . . . . . . . . . . . . . 49
150 Lewis, a, 4/4 . . . . . . . . . . . . 49
151 Lewis, a, 3/4 . . . . . . . . . . . . 49
152 Lewis, a, 3/4 . . . . . . . . . . . . 50
153 Lewis, d, 4/4 . . . . . . . . . . . . 50
154 Lewis, d, 4/4 . . . . . . . . . . . . 50
155 Lewis, d, 3/4 . . . . . . . . . . . . 50
156 Lewis, d, 3/2 . . . . . . . . . . . . 50
157 Lewis, a, 4/4 . . . . . . . . . . . . 51
III-3 Leaps Within the Tonic
Triad . . . . . . . . . . . . . . . .52
158 c, 4/4 . . . . . . . . . . . . . . . 52
159 c, 4/4 . . . . . . . . . . . . . . . 52
160 Wedge, c, 3/4. . . . . . . . . . . . 52
161 Who Got Dirt on the Carpet Again?, c, 4/452
162 c, 3/4 . . . . . . . . . . . . . . . 52
163 c, 4/4 . . . . . . . . . . . . . . . 52
164 Wedge, f, 2/4 . . . . . . . . . . . . 53
165 Wedge, f, 2/4 . . . . . . . . . . . . 53
166 Wedge, f, 2/4 . . . . . . . . . . . . 53
167 f, 4/4 . . . . . . . . . . . . . . . 53
168 Bach, Chorale, ‘Herr, nun lass in Friede’, a,
4/4 . . . . . . . . . . . . . . . . . . 53
169 Every Hour in the Day (Georgia), e, 2/4 . 53
170 Forget na’, dear Lassie (Scotland), a, 3/4. 54
171 Bach, Chorale, ‘Es steh’n vor Gottes
Throne’, g, 4/4 . . . . . . . . . . . . . 54
172 Mozart, theme from symphony in G minor,
g, 4/4 . . . . . . . . . . . . . . . . . 54
173 Thou Poor Bird, c, 4/4, 1 . . . . . . . 54
III-4 Leaps Within the Dominant55
174 Wedge, g, 3/4. . . . . . . . . . . . 55
175 Wedge, g, 2/4. . . . . . . . . . . . 55
176 My Field (Russia), g, 4/4 . . . . . . . 55
177 g, 9/8 . . . . . . . . . . . . . . . 55
178 Wedge, g, 3/4. . . . . . . . . . . . 55
179 Wedge, g, 3/4. . . . . . . . . . . . 55
180 Wedge, c, 3/4. . . . . . . . . . . . 56
181 lullabye (Russia), e, 4/4 . . . . . . . 56
182 Las Tristes Horas, e, 2/4 . . . . . . . 56
183 Wedge, g, 3/4. . . . . . . . . . . . 56
184 Froebel, The Wolf, c, 4/8 . . . . . . . 56
185 Guten Abend, g, 3/8 . . . . . . . . . 56
186 Bach, Gavotte II from cello suite # 5, c,
12/8 . . . . . . . . . . . . . . . . . 56
187 Lolotte (Louisiana), c, 4/4. . . . . . . 57
6
188 Mozart, menuet from string quartet # 15,
d, 3/4 . . . . . . . . . . . . . . . . . 57
189 Los Ojos Mexicanos (Mexico), g, 2/4 . . 57
190 White, Ophelia’s Song, e, 4/4 . . . . . 57
191 Bach, Chorale, ‘Nun sich der Tag geendet
hat’, a, 4/4. . . . . . . . . . . . . . . 57
192 Reir Es Necesario (Mexico), d, 2/4 . . . 57
193 En Avant, Gr´enadiers! (Louisiana), e, 4/4 58
194 Angel de Mis Amores (Mexico), d, 2/4 . . 58
195 Schubert, Am Feierabend, a, 6/8 . . . . 58
196 Bach, Chorale, ‘O Traurigkeit, o Herzeleid’,
a, 4/4 . . . . . . . . . . . . . . . . . 58
197 Brahms, Nachtwache 1, b, 4/4 . . . . . 58
198 Mi Sue˜ no (Mexico), c, 3/4 . . . . . . 59
199 Bach, Chorale, ‘O Haupt voll Blut und
Wunden,’ from St. Matthew’s Passion, d, 4/4 . 59
200 Bach, Chorale, ‘Von Gott will ich nicht
lassen’, b, 4/4 . . . . . . . . . . . . . 59
201 Wedge, g, 4/8. . . . . . . . . . . . 59
202 Wedge, g, 3/4. . . . . . . . . . . . 60
203 Handel, aria ‘O Jordan, Sacred Tide’ from
Esther, g, 3/4. . . . . . . . . . . . . . 60
204 Go Down, Moses (Unites States), g, 4/4 . 61
IV Other Diatonic
Materials. . . . . . . . . .63
IV-1 Leaps Between the Tonic
and Dominant . . . . . . . . . . .63
205 Ya Viene El Alba (California), G, 2/4 . . 63
206 Scarlatti, Gi`a il Sole dal Gange, A, 3/4 . 63
207 Schubert, Danksagung an den Bach, G, 2/463
208 Grieg, e, 4/4 . . . . . . . . . . . . 63
209 zandunga folk song (Southern Mexico), e,
3/4 . . . . . . . . . . . . . . . . . . 64
210 Carcini, Amarilli, Mia Bella, g, 4/4 . . . 64
IV-2 Leaps Within the Subdom-
inant, Major Keys . . . . . . . . .65
211 Jehovah, Hallelujah (South Carolina), F,
3/4 . . . . . . . . . . . . . . . . . . 65
212 Arlequin Marie Sa Fille (France), C, 3/4 . 65
213 folk song, F, 2/4. . . . . . . . . . . 65
214 folk song, F, 2/4. . . . . . . . . . . 65
215 Foster, Old Folks at Home, D, 4/4 . . . 66
216 Lang Johnny More (Scotland), F, 2/4 . . 66
217 The Bonniest Lass in a’ The Land (Scot-
land), C, 2/4 . . . . . . . . . . . . . . 66
218 Da Unten Im Tale, E, 3/4 . . . . . . 67
219 I Want To Be Ready (United States), E,
2/4 . . . . . . . . . . . . . . . . . . 67
220 Fasolo, Cangia, Cangia Tue Voglie, C, 2/4 67
221 The Ash Grove (Wales), F, 3/4 . . . . . 67
222 West, The Jenny Lind Mania (United
States), G, 2/4 . . . . . . . . . . . . . 67
223 Au Jardin de Mon P`ere (France), F, 6/8 . 67
224 Strauss, Devotion, C, 4/4 . . . . . . . 67
225 I Ride an Old Paint (United States), D, 3/468
226 Handel, aria ‘Hush ye pretty warbling quire’
from Acis and Galatea, F, 3/8 . . . . . . . 68
227 Tallis, If Ye Love Me, F, f/major . . . . 68
228 Sinner Won’t Die No More (Tennessee), A,
4/4 . . . . . . . . . . . . . . . . . . 69
229 Mozart, opening from clarinet quintet, A,
4/4 . . . . . . . . . . . . . . . . . . 69
230 The Gold Band (Tennessee), G, 3/4 . . . 69
231 Pergolesi, tune from Stabat Mater, G, 4/4 69
232 Bonnie Wee Window (Arkansas), E, 6/8 . 70
233 Fearis, Beautiful Isle of Somewhere, A, 6/870
234 Red River Valley, E, 4/4 . . . . . . . 70
235 I’m In Trouble (Florida), C, 4/4. . . . . 70
236 Haydn, introduction, London symphony, D,
4/4 . . . . . . . . . . . . . . . . . . 70
237 Cowboy’s Home Sweet Home (Arkansas),
G, 12/8 . . . . . . . . . . . . . . . . 71
238 Calinda (Louisiana), F, 6/8 . . . . . . 71
239 The Braes O Yarrow (Scotland), C, 3/4 . 71
240 Mozart, andante from string quartet # 2,
A, 3/4. . . . . . . . . . . . . . . . . 71
241 The Wild Moor (Missouri), B, 3/4 . . . 71
242 Brahms, introduction, 1st symphony, C,
4/4 . . . . . . . . . . . . . . . . . . 71
243 Caroline (Louisiana), G, 4/4 . . . . . . 72
244 Avril (France), E, 6/8 . . . . . . . . 72
245 Mozart, menuet from string quartet # 10,
C, 3/4. . . . . . . . . . . . . . . . . 72
246 The Hallowed Spot (Missouri), A, 3/4. . 72
247 folk song (Russia), G, 2/4 . . . . . . . 73
248 The Ship That Never Returned (Missouri),
A, 2/4. . . . . . . . . . . . . . . . . 73
249 Paradies, M’ha Preso Alla Sua Ragna, A,
2/4 . . . . . . . . . . . . . . . . . . 74
250 Die Sonne Scheint Nicht Mehr, E, 4/4 . . 74
7
IV-3 Wide Leaps Within the
Subdominant . . . . . . . . . . .75
251 Mozart, presto from string quartet # 4, C,
2/4 . . . . . . . . . . . . . . . . . . 75
252 Ellor, Diadem, B, 3/4 . . . . . . . . 75
253 Mozart, rondo from string quartet # 6, B,
2/4 . . . . . . . . . . . . . . . . . . 75
254 Adieu, Bonne Hˆ otesse (France), F, 4/4. . 75
255 Derri`ere Chez Moi (France), F, 2/4 . . . 76
256 Foster, The Song of All Songs, F, 4/4 . . 76
IV-4 Leaps Within the Subdom-
inant, Minor Keys . . . . . . . . .77
257 Wedge, f, 2/4 . . . . . . . . . . . . 77
258 Wedge, f, 3/4 . . . . . . . . . . . . 77
259 Wedge, c, 2/4. . . . . . . . . . . . 77
260 g, 4/4 . . . . . . . . . . . . . . . 77
261 Hanukah O Hanukah, d, 4/8, Presto. . . 78
262 Vivo Llorando la Suerte (Mexico), d, 2/4 . 78
263 Mozart, Osanna (bass solo, allegro) from
Sanctus, Requiem, D, 3/4 . . . . . . . . . 78
264 Bach, trio from Brandenburg concerto #
1, d, 3/4. . . . . . . . . . . . . . . . 78
265 Que No Te Amo (Mexico), g, 4/4 . . . . 78
266 folk song (Russia), d, 4/4 . . . . . . . 79
267 folk song (Russia), f, 2/4 . . . . . . . 79
268 Entre Vous Tous Gens de la Ville (France),
f, 3/4 . . . . . . . . . . . . . . . . . 79
IV-5 Leaps of a Seventh . . . . .80
269 Mozart, menuet from string quartet # 8,
F, 3/4 . . . . . . . . . . . . . . . . . 80
270 Hess, Little Charley Went a Fishing, F, 6/8 80
271 folk song, A, 4/4 . . . . . . . . . . 80
272 Carmela (Mexico), E, 4/8. . . . . . . 81
273 Mozart, menuet from string quartet # 1,
C, 3/4. . . . . . . . . . . . . . . . . 81
274 Gwine Follow (South Carolina), A, 2/4 . . 82
275 Mendelssohn, aria ‘If with all your hearts ye
truly seek me’ from Elijah, E, 3/4 . . . . . 82
276 Widdecombe Fair (England), C, 3/4 . . . 82
277 Walk, Shepherdess, Walk (Arkansas), C,
4/4 . . . . . . . . . . . . . . . . . . 82
278 Reir Es Necesario (Mexico), F, 2/4 . . . 82
279 folk song (Russia), A, 3/4 . . . . . . . 83
280 A Quinze Ans (France), g, 6/8 . . . . . 83
281 Mozart, menuet from string quartet # 8,
F, 3/4 . . . . . . . . . . . . . . . . . 83
282 Mozart, presto from string quartet # 7, E,
2/4 . . . . . . . . . . . . . . . . . . 83
IV-6 Other Perfect Fourths and
Fifths . . . . . . . . . . . . . . . .84
283 Mozart, opening from string quartet # 4,
C, 4/4. . . . . . . . . . . . . . . . . 84
284 folk song, G, 2/4 . . . . . . . . . . 84
285 La Rana (Mexico), D, 3/4 . . . . . . . 85
286 Harris, After the Ball, B, 3/4 . . . . . 85
287 Sullivan, Take a Pair of Sparkling Eyes, F,
6/8 . . . . . . . . . . . . . . . . . . 85
288 Sullivan, Sing Hey to You, Good-Day to
You!, G, 2/4 . . . . . . . . . . . . . . 85
289 Foster, Slumber My Darling, E, 6/8. . . 85
290 Rimsky-Korsakov, Scheherezade (theme
from third movement), C, 6/8 . . . . . . . 86
291 Beethoven, opening movement from string
quartet # 1, F, 3/4 . . . . . . . . . . . 86
292 Mozart, trio from string quartet # 1, C, 3/486
293 Abt, Kathleen Aroon, G, 3/4 . . . . . . 86
294 Giordiano,, Caro Mio Ben, D, 4/4 . . . . 86
295 R´emon (Louisiana), F, 2/4. . . . . . . 87
296 G, 2/4 . . . . . . . . . . . . . . . 87
297 Pergolesi, aria from Stabat Mater, G, 4/4. 87
298 Bach, menuet II from cello suite # 2, D,
3/4 . . . . . . . . . . . . . . . . . . 87
299 Brahms, introduction, 1st symphony, C,
4/4 . . . . . . . . . . . . . . . . . . 88
300 Milhaud, Chant de Sion, A, 4/4 . . . . 88
301 Sagt Mir, O Sch¨ onste Sch¨af’rin Mein, A,
6/8 . . . . . . . . . . . . . . . . . . 88
302 Gunhilde, F, 2/4. . . . . . . . . . . 89
303 Ach, Englische Schaeferin, F, 3/4 . . . . 89
304 Bach, Chorale, ‘W¨ar’ Gott Nicht Mit Uns
Diese Zeit’, C, 4/4 . . . . . . . . . . . . 89
IV-7 The Diminished Seventh
Chord, and the Harmonic Minor
Scale . . . . . . . . . . . . . . . .90
305 a, 4/4 . . . . . . . . . . . . . . . 90
306 O Daniel (Florida), d, 4/4 . . . . . . . 90
307 Bach, Invention 2, c, c/minor . . . . . 90
308 Mozart, andante un poco allegretto from
string quartet # 5, a, 4/4 . . . . . . . . . 90
309 Goldfaden, Raisins with Almonds, a, 3/4,
Lullabye . . . . . . . . . . . . . . . . 91
8
V Nondiatonic Materials
93
V-1 Secondary Dominants and
Lower Neighbor Tones . . . . . .93
310 Luther, A Mighty Fortress Is Our God, D,
4/4 . . . . . . . . . . . . . . . . . . 93
311 Kevin Barry (Ireland), C, 3/4. . . . . . 93
312 Who Got Dirt on the Carpet Again?, c, 4/493
313 Autrefois le Rat de Ville (France), G, 2/4 . 94
314 Mozart, aria from the Magic Flute, E, 3/8 94
315 Let God’s Saints Come In (Virginia), G, 2/494
316 Vivo Penando (California), F, 2/4 . . . . 94
317 Allan Maclean (Scotland), G, 3/4 . . . . 95
318 Stradella, Ragion Sempre Addita, A, 3/8 . 95
319 Dans le Port, Il Est Arriv´e (France), G, 2/4 95
320 Root, Brother, Tell Me of the Battle, D,
3/4 . . . . . . . . . . . . . . . . . . 95
321 McNaughton, The Faded Coat of Blue, G,
4/4 . . . . . . . . . . . . . . . . . . 96
322 Mozart, menuet from string quartet # 1,
C, 3/4. . . . . . . . . . . . . . . . . 96
323 Haydn, adagio poco cantabile from string
quartet, Op. 73, #3 (‘Emperor’), G, 4/4 . . . 97
324 Crep´ usculo (Mexico), D, 2/4 . . . . . . 97
325 Media Noche (California), E, 2/4. . . . 97
326 Pergolesi, tune from Stabat Mater, f, 4/4. 98
327 Bach, Bourr´ee II from orchestral suite #2,
b, 4/4 . . . . . . . . . . . . . . . . . 98
328 The Cruel Mother (England), E, 3/4 . . 98
329 Hawthorne, Out of Work, A, 4/4 . . . . 98
330 Joplin, The Easy Winners, C, 2/4 . . . . 99
331 Edwards, In My Merry Oldsmobile, G, 3/4 99
332 Erlaube Mir, Fein’s M¨adchen, F, 3/4. . .100
333 Bach, Menuet I from orchestral suite #1,
G, 3/4. . . . . . . . . . . . . . . . .100
334 Handel, chorus from ‘Judas Maccabaeus’,
C, 4/4. . . . . . . . . . . . . . . . .101
V-2 Blue Notes . . . . . . . . . .102
335 The Graveyard (South Carolina), F, 2/4 .102
336 Roll, Jordan, Roll (United States), D, 2/4 102
337 Cyclone at Ryecove (Missouri), A, 3/4 . .102
338 Europe, Goodnight Angeline, G, 4/4 . . .103
339 ’Tis Me, O Lord (Unites States), A, 4/4 .103
V-3 Relative Minor and Major .104
340 Schwesterlein, g, 3/4 . . . . . . . . .104
341 Es Ritt ein Ritter, b, 6/8 . . . . . . .104
342 Cradle Song (Sweden), f, 2/4 . . . . .104
343 Bach, Chorale, ‘Befiehl du deine Wege’, b,
4/4 . . . . . . . . . . . . . . . . . .104
344 Bach, Chorale, ‘Das Walt’ Mein Gott,
Vater, Sohn’, d, 4/4 . . . . . . . . . . .105
345 Feinsliebchen, Du Sollst, a, 2/4 . . . . .105
346 Bach, Chorale, ‘Gib Dich Zufrieden und Sei
Stille’, e, 4/4 . . . . . . . . . . . . . .105
VI The C Clef . . . .107
347 C, 4/4 . . . . . . . . . . . . . . .107
348 C, 3/4 . . . . . . . . . . . . . . .107
349 The Ash Grove (Wales), C, 3/4. . . . .107
350 Haydn, menuet Oxford symphony, C, 3/4.107
351 folk song, C, 6/8 . . . . . . . . . .108
352 Wach’ Auf, Mein Hort, C, 6/8 . . . . .108
353 La Paloma Blanca (Arizona), C, 6/8. . .108
354 Holst, Venus theme from The Planets, G,
3/4 . . . . . . . . . . . . . . . . . .108
355 folk song, G, 6/8 . . . . . . . . . .109
356 Pergolesi, aria ‘Sancta Mater’ from Stabat
Mater, F, 4/4 . . . . . . . . . . . . . .109
357 Mozart, aria (Papageno) from ‘The Magic
Flute’, B, 2/4 . . . . . . . . . . . . .109
358 Haydn, finale, London symphony, D, 4/4 .109
359 Every Hour in the Day (Georgia), a, 2/4 .109
360 lullabye (Russia), a, 4/4 . . . . . . . .109
361 Feinsliebchen, Du Sollst, a, 2/4 . . . . .110
9
10
Chapter I
Rhythm
The rhythms in this chapter all come from well-known tunes. After reading them, you may want to
look at the titles, which are given in the table of contents. If you’re working with a teacher, you may
wish to clap the rhythm twice, with the teacher counting beats the first time, and singing the tune
the second time.
I-1 Whole, Half, and Quarter Notes
1
, . , , , , , , . , , , , , , ,
2
, . , , , , , , . , , . , , ,
3
. , , , . . . . , , , , , , , , , , , , , ,
, . , , , , , , , , . . . , , . .
4
, , , , , . , , , , , , . , , . . , , . , , , , , , . ,
5
, , , , . , , . , , , , . . , , . , , , , , , . , ,
1
, rhythm of Twinkle Twinkle, Little Star
2
, rhythm of Little Brown Jug
3
, rhythm of Bingo
4
, rhythm of
Rain, Rain, Go Away
5
, rhythm of O Come, All Ye Faithful
I-2 3/4 Time, and Dotted Half-Notes
6
4
3 .

, , , , . , . .

, , , , . , .
4
3
.

.

, . , , , , , , , . , . , .
7
4
3 .

, , , , . .

.

, , , , .
4
3
I-3 Eighth Notes
8
, , , , , .

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

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

, ,

, , . , , . , , , , , , , , , , , , , , ,
13
, , , , ,

, ,

, , , , , , ,

, ,

, , , , , . , , , ,

, ,

, ,

, ,

, ,
6
, rhythm of We Three Kings
7
, rhythm of Take Me Out to the Ball Game
8
, rhythm of O Little Town of
Bethlehem
9
, rhythm of We Wish You a Merry Christmas
10
, rhythm of This Old Man
11
, rhythm of Hush
Little Baby
12
, rhythm of Jingle Bells
13
, rhythm of Jimmy Crack Corn
14 Chapter I. Rhythm
14
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,
4
3
4
3 . , , , ,
15
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3
4
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16
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3
.

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I-5 Sixteenth Notes
17
4
2 , , , , , , , , , , , , , , , , , ,
4
2
I-6 Dotted Eighth Notes
18
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19
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4
3 , , .

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3 . . , ,

20
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,
14
, rhythm of Away in a Manger
15
, rhythm of Rockabye Baby
16
, rhythm of Home On the Range
17
P.I.
Tchaikovsky, rhythm of trepak from The Nutcracker
18
, rhythm of Alouette
19
P.I. Tchaikovsky, rhythm of waltz of
the flowers from The Nutcracker
20
, rhythm of I’ve Been Working on the Railroad
I-5. Sixteenth Notes 15
I-7 Compound Time
21
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8
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24
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I-8 Syncopation
25
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4
2
4
2 ,

, , , , , , , ,
I-9 Triplets
26

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21
, rhythm of Here We Go Round the Mulberry Bush
22
, rhythm of The Itsy-Bitsy Spider
23
, rhythm of Pop
Goes the Weasel
24
, rhythm of Row, Row, Row Your Boat
25
Scott Joplin, rhythm of The Entertainer
26
P.I.
Tchaikovsky, rhythm of march from The Nutcracker
16 Chapter I. Rhythm
Chapter II
Major Keys
II-1 Introduction to Solfeggio
The following syllables are traditionally used for the seven notes of the major scale.
,
/
do
,
ti
,
la
,
so
,
fa
,
mi
,
re
,
do
,
/
,
They originate from the Latin hymn Ut Queant Laxis, in which the first word of each successive mu-
sical phrase began on the next note of the scale.
This book uses the movable do system. In this system, ‘do’ is always the tonic, and the other syllables
are assigned to the other notes according to their role in the key. In the key of D, for example:
,
,
,
/
do
,
ti
,
la
,
so
,
fa
,
mi
,
re
,
do
,
/
,
,
,
This may seem confusing at first, but it’s the only system that makes sense to the ear. For instance,
‘ti’ is always a note with a tendency to move up a half-step to ‘do,’ the tonic. (There is also a fixed do
system, in which ‘do’ is always C, ‘re’ is always D, and so on. The fixed do system is often taught to
European schoolchildren, who don’t know enough music theory to recognize the roles of the different
notes in relation to the tonic in a key that has sharps or flats.)
Sight singing is first and foremost a method of training your brain to understand relationships between
musical notes, and is therefore an important component of musicianship even if you consider yourself
primarily a composer or instrumentalist rather than a singer. For example, a jazz musician improvis-
ing a solo on the saxophone needs to be able to imagine a melody, and understand the relationship
between the imagined pitches so as to be able to translate them into fingerings. The solfeggio syllables
are a device for making the recognition of the relationships automatic.
Broadly speaking, there are two main approaches to learning solfeggio singing. One can learn to sing
intervals, or to sing each note according to its role in the key. That is, we can hear each note in relation
to the preceding note, or in relation to the tonic. Suppose, for example, that we’re singing a piece of
music in the key of C major, and having just sung B, which is ‘ti,’ we see that the next note in the
melody is C, which is ‘do.’ In the first approach, we recognize this as the interval of a half-step (minor
second), so we move to the note a half-step above the one we’ve just sung. In the second technique,
we know how to sing ‘do’ because of its special sound in relation to the key: it’s the tonic, the note
that sounds like it would be a good one to end the song on. In reality, one doesn’t use either technique
exclusively. We might as well ask Shakespeare what he does when he reads words: ‘Mr. Shakespeare,
do you use phonics, or do you recognize whole words?’ A fluent reader is actually decoding patterns
at a subconscious level, and the process is extremely rapid because most of the patterns are familiar.
Because the goal is rapid recognition of patterns at a subconscious level, one should not expect to
become a fluent sight singer by artificial devices. For instance, many people learn to recognize the
interval of a major sixth using a tune such as ‘My Bonnie Lies Over the Ocean’ or the NBC jingle.
This is a good thing to learn, just as it’s good to learn that an E at the end of a word makes the
preceding vowel long. But a fluent reader doesn’t look at the word ‘sure’ and think ‘silent E makes
the U long.’ Learning the phonics rules is necessary, but having learned them, we actually become
fluent readers through the act of reading large amounts of English.
There is also a pitfall to this technique of learning to hear intervals via a personalized list of familiar
melodies. The leap of a major sixth in ‘My Bonnie’ is a leap from ‘so’ up to ’mi,’ but your brain will
probably refuse to recognize the leap from ‘re’ to ‘ti’ as being the same thing, because ‘re’ and ‘ti’
play different roles in the key than ‘so’ and ‘mi.’ Some people learn two melodies, one for ‘so-mi’ and
one for ‘re-ti.’ Some might even do another two for the downward leaps ‘mi-so’ and ‘ti-re!’ This just
shows that the technique is artificial and not usually very useful.
18 Chapter II. Major Keys
II-2 Melodies Containing Only Steps
In each example, start by identifying which line or space on the staff represents ‘do,’ the tonic. If
you have an instrument at hand, play the tonic, and then sing enough notes from the tonic chord
to bracket the range of the melody, e.g., ‘do mi so do’ for the octave spanned by the first example.
If an instrument is not available, pick a note for ‘do’ that will put the melody in the most comfort-
able part of your vocal range. Locate the notes of the tonic chord on the staff to use as reference points.
27 ,
/
,
,
,
·
,
,
, ,

,
,

,
,

,
,

/
,
28
,
.
,
,
.
,
.
,
,
.
,
,
.
/
, ,
/
,
29 ,
, ,
,
, ,
,
,
,
,
, ,
,
, ,
,
, ,
,
,
/
4
3
4
3
/
.
,
,
famous tune (identified in the table of contents)
30
, ,
,
, ,
.

,
,

,
,
, ,
,
,
,
, ,
,
, ,
/
, ,
/
.

,
,
,
,
, ,
,
,
,
The following example is in a new key: its ‘do’ is the former ‘so.’ If you have trouble convincing your
brain to switch keys, try singing ‘do re mi fa so’ in the old key, then repeating the last note as ‘do,’
and finally singing ‘do ti do’ — with authority!
31
,
,
.
.
,
,
,
,
.
,
,
. /
,
4
3
/
,
4
3
.
32
·
,
, ,
, ,
,

·
,
,
,
,
,
,
·
,
,
·
,
/
,
4
3
4
3
,
/ ,
,
,


,
,
,
,
,
,

II-2. Melodies Containing Only Steps 19
33
.
, ,
.
, ,
, ,
, , ,
.
,
,
. , ,
,
,
,
,
, ,
,
, ,
,
,
,
,
34
,
,
,
,
,
,
.
,
,
, ,
,
,
,
,
/
,
,
,
, ,
,
,
,
/
.
.
,
35
,
,
,
,
,
,
,
·
, ,

, ,


,
, ,
,
,
, ,
,
·
,
,
,
,
,
,
,
,
·
Moderato
,
/
,
,
,
,
8
6
8
6
,
,
,
,
/
,

, ,
,
,
,
,
,
,
, ,
,
·
,
Note that the following two examples both have the tonic on the line at the center of the staff, so the
one with five sharps actually isn’t any more difficult to read.
36
,
,
.
,
,
.
,
,
,
,
,
, ,
,
.
,
,
,
,
,
, ,
,
.
/
,
,
,
,
,
4
3
4
3
,
,
,
,
,
/
, .
,
, ,
, ,
,
37
,
,
, ,
,
,
,
,
, ,
,
,
,
/
,
,
, , ,
,
/
,
, ,
,
,
,
,
,
,
The following five melodies all begin on ‘so.’
38
,
,
,
,
,
, ,
,
,
. ,
,
,
,
,
,
,
,
,
, ,
,
,
, ,
/
,
,
, , ,
,
/
, .

,
.
,
,
,
,
,
,
We now begin moving around the circle of fifths in the opposite direction. ‘Ti’ in the previous key
is flattened, and becomes ‘fa’ of the new key. If you’re singing the new, flattened version of the note
correctly, you should be able to hear its strong tendency to resolve down to ‘mi.’
39
,
, ,
,
,
,
.
,
,
, .
,
,
,
/
,
,
,
4
3
4
3 ,
,
,
/
.
33
anonymous, carol (Bohemia)
34
J.S. Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’
35
Pierre Latour,
The Beautiful Angel
36
L.R. Lewis
38
L.R. Lewis
20 Chapter II. Major Keys
40
,
,
,
,
.
,
,
,
,
,

,
,
,
,
,
,
,
.
,
,
,
/
,
,
,
,
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,
,
,
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,

,
,
,
3 3
41
·
,
,
, ,
.

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,

,

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,
,
,
/
,
,
,
,
,
, , ,
,
,
,
, /
.
·
,
,
·
,
The following two melodies both have the tonic at the same place on the staff.
42
,
, , ,

,
, ,
·
,
, ,
,
,
,
/
,
,
,
,
,
,
, , ,
,
,
,
,
,
/
,

,
,
,

,
,
,
,
43
,
,

,
,
,

,
,
,
,
,
,
,

,

,
,
,

,
,
,

/
,
8
6
8
6
,
/
,
·
,
,
,
,
,
·
,
·
,
Canon for two voices:
44 ,
/




,
, ,
,
,
.
,
,
,
,
,
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Canon for two voices:
II-2. Melodies Containing Only Steps 21
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47
L.R. Lewis
48
L.R. Lewis
22 Chapter II. Major Keys
49
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49
L.R. Lewis
50
L.R. Lewis
II-2. Melodies Containing Only Steps 23
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24 Chapter II. Major Keys
II-3 Leaps to ‘Do’
51

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Adagio
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II-4 Leaps Back to Remembered Notes
53
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55
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The following example uses both leaps back to remembered notes and leaps to the tonic.
54
J.S. Bach, Chorale, ‘Seelenbr¨ autigam, Jesu, Gottes Lamm’
55
J.S. Bach, Chorale, ‘Jesu, meiner Seelen Wonne’
II-3. Leaps to ‘Do’ 25
56
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The next tune is easier than it appears, because you only need to return to the same note after each
low G.
57
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4
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57
folk song
26 Chapter II. Major Keys
II-5 Easy Leaps Within the Tonic Triad
This section introduces leaps of a third, a fourth, and an octave within the tonic triad.
famous tune (identified in the table of contents)
58
4
3 ,
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Allegro
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60

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Allegretto
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Allegro
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63
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59
Alessandro Scarlatti, Su, Venite a Consiglio
60
W.H. Latham, Broadway Sights
61
anonymous, A la Claire Fontaine
(France)
62
Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater
63
A.S. Sullivan
64
anonymous,
A Recouvrance (France)
II-5. Easy Leaps Within the Tonic Triad 27
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65
Froebel, Pat-a-Cake
66
anonymous, Carmela (Mexico)
67
anonymous, My Father, How Long? (Florida)
68
J.S.
Bach, Chorale, ‘Es ist gewisslich an der Zeit’
69
anonymous, Annie Laurie
28 Chapter II. Major Keys
/
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71
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72 , ,
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70
Martin Luther, We Come Unto Our Father’s God
71
anonymous, Lawlan’ Jenny (Scotland)
72
Stephen Foster,
Hard Times Come Again No More
II-5. Easy Leaps Within the Tonic Triad 29
73
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Allegretto
,
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4
2
4
2 ,
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The following example includes a leap of a sixth, but it’s an easy leap back to ‘do.’
74
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Con moto
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This four-part canon includes a leap of a sixth to ‘do.’
75
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73
H. Burgess Weston, Row, Burnie, Row
74
anonymous, En Revenant d’Auvergne (France)
75
anonymous, Enten-
dez-Vous Sur l’Ormeau (France)
30 Chapter II. Major Keys
II-6 The Leap of a Fifth Within the Tonic Triad
76
·
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6
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Grazioso
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Moderato
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3
8
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,
76
anonymous, Dans la Forˆet Lointaine (France)
77
anonymous, The Beggar Girl (England)
78
Alice Hawthorne,
Home, By and By
79
Froebel, Beckoning the Pigeons
II-6. The Leap of a Fifth Within the Tonic Triad 31
II-7 Leaps of a Sixth Within the Tonic Triad
80
/
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2
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Allegro vivace
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81 , ,
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82
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2
4
2
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/ .
,
The next example includes both leaps within the tonic triad and leaps to ‘do.’ Because of its wide
range, it is given in two keys; make sure to choose a key in which you can actually reach all the notes!
84
4
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80
anonymous, As-Tu Vu la Casquette? (France)
81
anonymous, Praise, Member (South Carolina)
82
Froebel,
Beckoning the Chickens
83
folk song
84
anonymous, Poor Rosy (South Carolina)
32 Chapter II. Major Keys
85 ,
/




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4
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/
Another example that includes leaps to ‘do.’
86
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87
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88
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Canon for two voices:
89
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3 ,
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/




,
,
,
85
anonymous, Poor Rosy (South Carolina)
86
W.T. Wrighton, The Dearest Spot on Earth
87
anonymous, Absent
Davie (Scotland)
II-7. Leaps of a Sixth Within the Tonic Triad 33
II-8 Leaps Within the Dominant
This section introduces leaps of a third within the dominant. Fourths, fifths, and sixths are included
in section II-9, and leaps of a seventh within the dominant chord are deferred until section IV-5.
famous tune (identified in the table of contents)
90 , , ,
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92
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Un poco allegretto
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93




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,
,
.
,
, ,
,
,
,
,

, ,
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/
94
/ ,
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,
,
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,
,
,
,
,
,
, ,
, ,
,
,
,
,
,
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,
,
4
2
,
,
Moderato
,
/
,
,
,
4
2
/
,
,
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,
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,
,
,
,
/
91
folk song
92
anonymous, Derri`er’ Chez Nous il y a Trois Fleurs (France)
93
anonymous,
¨
Annchen von Tharau
(Germany)
94
anonymous, Ah! Mon Beau Chˆ ateau! (France)
34 Chapter II. Major Keys
95 ,
,
,
, ,
,
,
,
,
, ,
,
,
,
,
,
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,
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4
2
4
2
,
/ ,
,
96
,
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4
3
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3
,
.
,
97 , ,

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4
2
, ,
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98
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3
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.

,
Hell und freudig
.
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3
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99

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8
9
8
9
,
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100
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4
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/




,
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101
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/
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,
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,
95
anonymous, Ainsi Font, Font, Font (France)
96
John Husband, Revive Us Again
97
W.A. Mozart, aria (Papageno)
from ‘The Magic Flute’
98
anonymous, Sch¨ onster Schatz, Mein Engel
99
anonymous, Down in the Valley
100
anonymous, Musieu Bainjo (Louisiana)
101
anonymous, Brother, Guide Me Home (Tennessee)
II-8. Leaps Within the Dominant 35
102
,
,
.
,
,
.
.
.
, , , , , ,
.
.
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/
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. . ,
3 3 3 3 3
103

,
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4
3
4
3
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104
,
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,
/




,
,
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105
,
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/
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106
,
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,


, .

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107 ,
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,
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102
anonymous, Serenata (California)
103
W.A. Mozart, adagio from string quartet # 1
104
J.S. Bach, Chorale, ‘Es
spricht der Unweisen Mund wohl’
105
Nikolaus Beuttner, Es kam ein treuer Bote
106
J.S. Bach, Chorale, ‘Valet will
ich dir geben’
107
J.S. Bach, Chorale, ‘Wie bist du Seele in mir so gar betr¨ ubt’
36 Chapter II. Major Keys
108 ,
,
,
,
,


, . .
, ,
·
, , ,
·
,
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, , ,
, ,
/
, , ,
Allegretto con grazia
,
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,
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109
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110
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8
4
8
4
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,

,

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,
111
/




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112
,
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3
4
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113


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108
anonymous, Gardez Piti Milatte-l` a (Louisiana)
109
anonymous, Shout On, Children (Georgia)
110
Franz Schubert,
Wohin?
111
J.S. Bach, Chorale, ‘Liebster Jesu, wir sind hier’
112
Franz Joseph Haydn, menuet Oxford symphony
113
J.S. Bach, Chorale, ‘Mach’s mit mir, Gott, nach deiner Gut’
II-8. Leaps Within the Dominant 37
/
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114
,
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8
6
8
6
/

,

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115
,
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4
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116
,
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,

3
3
3
3
3
3
3
3
3
3
117
, ,


,
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·
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Moderato
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3
8
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118
4
3
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,

.
,
,
,
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·
,
,
114
Franz Schubert, Halt!
115
Gustav Holst, Venus theme from The Planets
116
anonymous, Serenata (California)
117
anonymous, If Your Foot Is Pretty, Show It (United States)
38 Chapter II. Major Keys
/
,
,
,

/
,
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,
, .

,
·
,
,
,
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·
,
II-8. Leaps Within the Dominant 39
II-9 Wider Leaps Within the Dominant
This section introduces leaps within the dominant as broad as a sixth. Leaps of a seventh are deferred
until section IV-5.
famous tune (identified in the table of contents)
119 ,
/ .

,
,
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,

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120
,

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121 ,
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122
4
2
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Un poco allegretto
,
/
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4
2
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,

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,

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123
,
,

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6
,
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8
6
120
anonymous, Aux Marches du Palais (France)
121
J.S. Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’
122
anonymous, Arlequin Tient Sa Boutique (France)
123
anonymous, Ballade de Roland (France)
40 Chapter II. Major Keys
/
,
,

, ,
, ,
,

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·
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124
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125
4
2
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,




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126
/
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2
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124
folk song
125
anonymous, Tu Eres Mas Bella (Costa Rica)
126
anonymous, Praise, Member (South Carolina)
II-9. Wider Leaps Within the Dominant 41
127 ,
·
,
,
·
, ,
·
,
,
·
, ,
·
,
8
6
, ,


,
,

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,

Mit kraeftiger Leidenschaft
,
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,
8
6
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,

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·
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128
,
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129
, ,
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130
4
2
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,
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Allegro
,
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131
,
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4
3
4
3 ,
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3
3
3 3
127
anonymous, Wach’ Auf, Mein Hort
128
anonymous, Barbara Allan (Scotland)
129
Franz Joseph Haydn, finale,
London symphony
130
anonymous, Dans Notre Jardin (France)
131
anonymous, The Gypsy Warning (Missouri)
42 Chapter II. Major Keys
132 , ,
, ,
/
, ,
,
,
,
, ,
,
,
Lebhaft, doch zart
,
,
,
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,
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133
·
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,

,


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,


Molto mesto
,
/
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8
6
8
6 ,
,
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134
4
3 ,
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Allegretto comodo
,
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4
3
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,
,





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135
8
6 ,
/




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, ,

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,
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,
132
anonymous, Jungfr¨ aulein, Soll Ich Mit Euch Gehn
133
Richard Strauss, Not Yet
134
anonymous, Ah, Suzette, Ch`ere
(Louisiana)
135
anonymous, La Paloma Blanca (Arizona)
II-9. Wider Leaps Within the Dominant 43
/
, ,
/
,
,
·
,
, ,
,
,
, , ,
, , ,
,
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,

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136
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8
4
8
4 ,
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137
4
3

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3
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,
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138
/
4
3 ,
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4
3
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,
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.

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8
3
Fine
,
.
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D.S. al fine
139
,
,
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6 , , ,
·
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,
,
,
8
6
136
Franz Schubert, Das Wandern
137
anonymous, Chill Ether (Scotland)
138
folk song
139
folk song
44 Chapter II. Major Keys
/
,
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,
, ,
·
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, , ,
,


,
,
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140
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141 ,
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,
,
,
,
,
,
,
,
,
,
,
,
/
142
4
3
,
,
,
,
,
,
,
/
,
,
,
,
,
,
,
,
,
,
,
,
,
, , , ,
,
,
/
,
,
4
3
3
/
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
/
,
,
143
,

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

,
,
,
,
,
,
,
, ,
,
Andante
,
/
,
4
2
4
2
,
/
. .
,

,
,
140
J.S. Bach, Chorale, ‘Nun ruhen alle Walder’
141
J.S. Bach, Chorale, ‘Wenn wir in h¨ ochsten N¨ oten sein’
142
anonymous, The Duke of Argyle’s Courtship (Scotland)
143
Harold Samuel, The Fairy Boat
II-9. Wider Leaps Within the Dominant 45
144
,
, ,
,
,
·
,
,
·
,
, , , ,

,
,
,
,
4
2 ,
,
,
·
,
,
·
,
, , , ,

Anmutig
,
/
,
4
2
/
/
,
,
,
,
,
,
,
,
,
,
,
,
,
, , , , , ,
·
,
,
,
,
,
/
Canon for two voices:
145
,
.
,
,
,
,
, , ,
2
, ,
,
,
,
,
,
,
,
, .

.


.
1
,
/
,
,
, , ,
,
/




,
,
.
,
,
,
144
anonymous, Gar Lieblich Hat Sich Gesellet
46 Chapter II. Major Keys
Chapter III
Minor Keys
III-1 Solfeggio in the Minor Mode
Some people sing in the minor mode using these solfeggio syllables:
, ,
,
,
/
do
,
re
,
me
,
fa
,
so
,
,
le
,
,
te
,
do
,
do
,
¸
ti
,
¸
la
,
so
,
fa
,
me
,
re
,
do
,
/
,
,
,
,
This system has the advantage that most of the notes have the same functions as in the major mode.
‘Do’ is still the tonic, ‘so’ the dominant, ‘ti’ the leading tone, and so on. In this system, the names of
the notes stay the same when switching between the parallel major and minor.
Others prefer this:
, ,
,
,
/
la
,
ti
,
do
,
re
,
mi
,
,
fa
,
,
so
,
la
,
la
,
¸
si
,
¸

,
me
,
re
,
do
,
ti
,
la
,
/
,
,
,
,
This system highlights the relationship between the minor and its relative major.
If you don’t have a teacher who wants you to use one system or another, I suggest you use the first
one, because it lets you recycle many of the patterns you’ve learned in minor. For instance, ‘so-ti-do’
is still a formula for a cadence.
In both systems, the vowel ‘i’ is used for a sharpened note, and ‘e’ for a flattened one. The chromatic
scale looks like this:
,
/
do
,
ti
,
,
li
,
la
,
,
si
,
so
,
,

,
fa
,
mi
,
,
ri
,
re
,
,
di
,
do
,
/
,
/
so
,
le
, ¸
la
,
,
te
,
ti
,
/
do
,
¸
do
,
,
ra
, ¸
re
,
,
me
,
mi
,
¸
fa
,
,
se
, ¸,
The important thing is to pick a system and learn it thoroughly. (I use my own enharmonic system
in which the chromatic scale is ‘do gu ri bu mi fa ka so ja la pa ti do.’)
48 Chapter III. Minor Keys
III-2 Steps
The purpose of the first exercise is to get used to the solfeggio syllables used in minor.
146
,
,
,
,
,
, .
,
, ,
,
,
,
,
,
,
,
,
,
,
Poco a poco accelerando
,
/
, ,
/




,
,
,
, ,
,
,
,
,
,
147
,
,
,
·
,
,
, ,
,
·
,
,

,
/
8
6
8
6
/
,
,
,

,
,

148
,
,
,
·
,
,
,
·
,
,
,
,
·
,
, ,
·
Largo
,
/
4
3
4
3
/
.

, , ,
·
,
This melody introduces the use of the ascending and descending forms of the melodic minor scale.
The rhythmic figure is the same as in the preceding tune.
149
,
,
·
, ,
,,
,
,
,
·
,
, ,
·
,
,
,,
,,
,
,
,
·
,
,
,,

Largo
,
/
4
3
4
3
/
.

, , ,
,

,
,
,,
,
,
,
,
·
,
150
, ,
,
¸,
, .
,,
,,
,
,
¸,
,
,,
,
,
,
,
,
,
,
/
, ,
/
.
,
, ,
,
,
,
,
,,
,,
151
,
,
,
,,
,,
,
,
¸,
,
,
,
,,
,
,
, ,
,
,
/
4
3
4
3
/
,
.
,
,
,
152
4
3
/
,
.
,
¸,
, .
,
,
, ,.
,
,
, .
,
,
/
4
3
150
L.R. Lewis
151
L.R. Lewis
152
L.R. Lewis
III-2. Steps 49
/
, .
,
.
,
,
,
,
,
, .
,,
,,
,
.
,
,
.
/
153 , ,
/
.
,,
¸,
,
,
,
,
,
,
,
,
,
,
,
,
/
, ,
154 , ,
/
.
,,
,
,
,
,,
¸,
.
,
,
,
,
,
,
/
, ,
155
,
,,
¸,
,
,
, ,
,
, ,
, , ,
,
,
,
,
,,
,
,
,
,
, , ,
,
, , ,
/
,
4
3
4
3 ,
/
,
.
,,
¸,
,
, ,,
¸,
156
,
.
,
,.
¸.
.
,.
2
3
,
,.
¸.
,
,
.
,
.
.
.
/
,
2
3
/
, ,
.
.
.
,
157
,
,
,
,
.
,
,
,
/
,
,
,
,
,
,
,
,
,
/
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,

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

153
L.R. Lewis
154
L.R. Lewis
155
L.R. Lewis
156
L.R. Lewis
157
L.R. Lewis
50 Chapter III. Minor Keys
,
/
,
,
,
,
,
,
,
,
,
,
, ¸
,
,
,
,
,
,
,
.
,
,
,
,
,
,
,
,

.
,
/
,
,
,
,
,

. ,
,

III-2. Steps 51
III-3 Leaps Within the Tonic Triad
158
,
,
,
.
,
, .
,
,
.
,
, .
,
, .
,
, .
¸,
,
,
,
,
,
, ,
,
,
,
,
.
,
,
,
159 ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
160
,
,
,
,
,
¸,
, ,
.
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
4
3
4
3
,
,
,
,
.
,
,
,
,
,
,
161 ,
,
,
,
,
.
·
,
3
,
,
·
,
3
,
,
,
,
,
,
,
,
,
162
4
3
,
,
.
.
·
,
,

,
,
.
,

,
,
.
,

,
·
,
,
,
,
,
,
,
,
,
,
4
3
,
,
,
,
.

¸
·
,
¸,

,
,
.
,

,
,
.
,

,
·
,
,
,
,
,
,
,
163 , ,
¸,
,
,
,
,
,
,
,
,
. , ,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
¸,
,
,
,
,
¸,
, ,
,
,
,
,
,
,
,
,
¸,
,
,
,
,
,
160
G.A. Wedge
161
Who Got Dirt on the Carpet Again?
52 Chapter III. Minor Keys
164
.
,
, ,
,
, ,
,
,
.
,
, ,
,
, ,
,
,
/
,
,
,
,
4
2
4
2 ,
,
,
,
/
165
.
¸,
,
,
,
,
,
,
,
.
,
,
,
,
,
,
,
,
,
/
,
,
,
,
4
2
4
2 ,
,
,
,
/
166
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
/
,
,
,
,
4
2
4
2 ,
,
,
,
/
.
167

,
,
. , ,
.
,
,,
,
¸,
¸,
,
,
, ,
/
,
,
,
,
, , ,
,
,
,
/
.
168 ,
,. /
.
, ,
, ,
.
.
,
,
, ,, ,.
.
,,
,,
, ,
/
,
/
.
.
, ,
, ,
.
.
, ,
, ,
.
.
, ,
, ,
/
169
,
,
, ,
,
,
,
,
, ,
, , ,
,
,
,
,
,
, ,
,
,
,
, ,
·
,
/
,
4
2
4
2
,
/
,
,,
,
,
,
,
170

,
/
,
4
3
,
,
/
,
,

,
,
,
,
,
,
,
,
,
,
,
,
,
4
3
,
.
,
,
,
,
164
G.A. Wedge
165
G.A. Wedge
166
G.A. Wedge
168
J.S. Bach, Chorale, ‘Herr, nun lass in Friede’
169
anonymous,
Every Hour in the Day (Georgia)
170
anonymous, Forget na’, dear Lassie (Scotland)
III-3. Leaps Within the Tonic Triad 53
/
,
,
,
,
,
,
,
,
,
,
,
,
, . ,
,
,
,
,
,
,
,
/
/
,
.
,
,
,

,
,
,
,
,
,
,
,
,
,
,
/
, .
,
,
,
171
, ,
,
,
,
.
,
,
,
,
, ,
.
,
,,
,
,
, /
,
,
, , ,
,
/ .

,,
famous tune (identified in the table of contents)
172
, ,

,
, , ,

, ,
,
, ,
,
, ,
,
/
,
,
, , ,
,
/
,

,

,
, ,

,
Round:
173
,
¸,
, ,
3
,
,
,
,
2
, .
,
1
,
/
,
,
,
, , ,
,
,
/
.
,
4
,
,
, ,
171
J.S. Bach, Chorale, ‘Es steh’n vor Gottes Throne’
173
anonymous, Thou Poor Bird
54 Chapter III. Minor Keys
III-4 Leaps Within the Dominant
174
,
4
3
,
,
,
,
,
.
,
,
,
,
,
,
,
/ ,
,,
,
,
,
, /
,
,
4
3 ,
,
.

,,
,
,
,
,
,
,
175
.
,,
, ,
,
,
,
,
,
,
.
,
,
,
,
,
,
, ,
, /
,
,
4
2
4
2 ,
,
/
famous tune (identified in the table of contents)
176
,
,,
,
,
,
,
,
,
,
,
,
.
.
,
,
,,
,
,
,
.
.
,
,
Andante
.
/
,
,
, , ,
,
/
,
,
,
,
,
,
,
,
177 ,
,
,
,
,
, /
,
,
,
,
,
,
´
,
,
8
9
,
, ,
,
,
,
/
,
,
,
,
,
,
Vivace

,
,
,
,
8
9
,
,
,
,
/
,
,
/
,
,
,
,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
´
,
,
,
,
,
,
/
,
,
,
,
,
,
´
,
, ¸
, ,
,
,
,
, ,
,
,
,
,
,
, ,
´
,
,
,
,
/ ,
,
,
,
,
, ¸
, ,
178
,
,
,
,
,
,
,
,,
, ,
.
,
,,
,
,
,
,
,
,
,
,
, ,
/
,
,
4
3
4
3 ,
,
/ .
,
,
,,
,
179
,
,
,
,
,
,
,
.
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
/
,
,
4
3
4
3 ,
,
/ .

, ,
,
,
,
,
,
174
G.A. Wedge
175
G.A. Wedge
178
G.A. Wedge
179
G.A. Wedge
III-4. Leaps Within the Dominant 55
180
¸,
,
,
¸,
,
,
.
.
,
¸,
,
,
,
,
,
¸,
,
,
.
,
,
,
,
4
3
4
3
,
,
,
,
.
,
,
,
181
,
,
,
, ,
,
,
,
, , ,
, ,
, ,
,
,
·
,
,
,
,
·
,
Largo
,
,
,
,
,
,
,
,
, ,
,
,
,
,
,
,
,
,
,
, ,
,
,
,
182
,
,
,,
4
2
, , ,
,
,
, ,
,
,
,
/
, , , ,
,
,
, , ,
,
/
,
4
2
,
.
,
,
,
, ,
,
,
183 ,
,
,,
,
,
,
,
,
,
,
.
,
,
,
,
,
,
,
,
,
,
,
,
,
/
,
,
4
3
4
3 ,
,
/ .
,,
,
,
184
,
,
,
,

,

,
,
,
,
,
,
,

/
,
,
,
8
4
8
4 ,
,
,
/
,

,
,
¸,
,
,
,
185
/
,
,

,
,
·
,
,
,
,
,
·
,
,

, ,
,
8
3 ,
,
,
,,
, , ,
,

Draengend, doch nicht schnell
,
/
,
,
8
3
/
,
,
,
,,
,
,
,
,
,
,
,
, ,

,
,,
,
,
,
,
,
,
, ,
, ,
,
,
/
186
,
¸,
,
,
,
,
,
,
,
,
, ,
,
,
,
,


,
,
,
,
,
,
8
12
,

,
,
,
,
¸,


,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
8
12
180
G.A. Wedge
181
anonymous, lullabye (Russia)
182
anonymous, Las Tristes Horas
183
G.A. Wedge
184
Froebel,
The Wolf
185
anonymous, Guten Abend
186
J.S. Bach, Gavotte II from cello suite # 5
56 Chapter III. Minor Keys
187 ,
/
, ,
,
,
,
,
,
/
,
, ,
,

,
,
,
,
,
, ¸ ,
, ,
,
,
,
,
/
,
,
,
/

,
, ,
, ,
,
,

,
,
,
¸,
,
,
,
, ,
, ,
,
,

,
,
/
,
,
,
,
,
,
,
,
,
,
, ,
,
,
, ¸
,
/


,
,
,
,


,
,

,
,
,
188
, , , , , ,

,
, , , , , ,
,
, , , ,
,
,
,,
,
,
, ,
,
, , ,

/
,
4
3
4
3 ,
/
.
,,
,
,
,
,,
, ,
189
, ,
, , ,
,


,
,
,
/
,,
, ,
´
, ,
,

,
, ,
,
,
,
, , , ,
/
,
,
4
2 ,
,

,
,
,
,,
,
´
, ,
4
2
,

, ,
3
3
3
190
,
,,
.
,
,
,
,
,
,
,.
,
,
,
,
,
,
,,
,
,
,
,
,
,
,
,
Andantino
,
/
,
, ,
,
/
.

,
,
,
,
,
,
,
,
,
,
3
191
,
,,
,
,
,
,
,
, .
, ,
,
,
, ,
, ,
, ,
,
,
,
/
, ,
/
.
·
, ,
,
,
,
,
192

, ,
,
,
,

,
,
4
2
,
,

,
,
,
,
, ,

,
,
,
/

, ,
,
,
,

,
/
,
4
2 , ,
,
,
,
,
,


,
,
,
3
187
anonymous, Lolotte (Louisiana)
188
W.A. Mozart, menuet from string quartet # 15
189
anonymous, Los Ojos
Mexicanos (Mexico)
190
Maude Valerie White, Ophelia’s Song
191
J.S. Bach, Chorale, ‘Nun sich der Tag geendet hat’
192
anonymous, Reir Es Necesario (Mexico)
III-4. Leaps Within the Dominant 57
193 ,
/ ,
. ,
, ,
.
,
,
,
,
,
,
,
,
,
,
,
,
,
/
,
,
,
,
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,
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Langsam
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anonymous, En Avant, Gr´enadiers! (Louisiana)
194
anonymous, Angel de Mis Amores (Mexico)
195
Franz Schubert,
Am Feierabend
196
J.S. Bach, Chorale, ‘O Traurigkeit, o Herzeleid’
197
Johannes Brahms, Nachtwache 1
58 Chapter III. Minor Keys
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199
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201
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198
anonymous, Mi Sue˜ no (Mexico)
199
J.S. Bach, Chorale, ‘O Haupt voll Blut und Wunden,’ from St. Matthew’s Passion
200
J.S. Bach, Chorale, ‘Von Gott will ich nicht lassen’
201
G.A. Wedge
III-4. Leaps Within the Dominant 59
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G.A. Wedge
203
G.F. Handel, aria ‘O Jordan, Sacred Tide’ from Esther
60 Chapter III. Minor Keys
famous tune (identified in the table of contents)
204
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III-4. Leaps Within the Dominant 61
62 Chapter III. Minor Keys
Chapter IV
Other Diatonic Materials
IV-1 Leaps Between the Tonic and Dominant
The following three songs contain the leap from ‘ti’ to ‘mi.’
205
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Allegro giusto
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207
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The next three use leaps of a diminished fourth, an interval which sounds like a major third, and is
typical of minor keys.
208
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anonymous, Ya Viene El Alba (California)
206
Alessandro Scarlatti, Gi` a il Sole dal Gange
207
Franz Schubert,
Danksagung an den Bach
208
Grieg
209
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209
anonymous, zandunga folk song (Southern Mexico)
210
Giulio Carcini, Amarilli, Mia Bella
64 Chapter IV. Other Diatonic Materials
IV-2 Leaps Within the Subdominant, Major Keys
The first two tunes clearly imply the subdominant chord in the marked measures.
211
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More commonly, the melody leaps into or out of ‘la’ without spelling out the subdominant chord
explicitly. Although dominant harmony can often be implied strongly with only one or two notes, this
is not usually true of the subdominant, because of its weaker character. Since thirds are the most
common leaps, the most important new leaps to learn to sing are the ones between ‘do’ and ‘la’ and
between ‘fa’ and ‘la.’ This melody leaps from ‘do’ to ‘la:’
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This one jumps from ‘la’ to ‘fa:’
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famous tune (identified in the table of contents)
215
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211
anonymous, Jehovah, Hallelujah (South Carolina)
212
anonymous, Arlequin Marie Sa Fille (France)
213
folk song
214
folk song
IV-2. Leaps Within the Subdominant, Major Keys 65
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A great deal of Scottish folk music uses a major scale that omits ‘ti.’ ‘Fa’ is sometimes left out as
well, forming a five-note, or pentatonic, scale. Once one’s ear adjusts to the sound of the scale, the
characteristic leap between ‘do’ and ‘la’ no longer sounds like a leap at all. Of the following two
examples, the first is pentatonic, while the second uses the full major scale. The first example has
been notated with the style’s typical elaborate ornamentation, which you may wish to ignore.
216
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216
anonymous, Lang Johnny More (Scotland)
217
anonymous, The Bonniest Lass in a’ The Land (Scotland)
66 Chapter IV. Other Diatonic Materials
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Andante
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Moderato
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Animato
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224
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Moderato
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218
anonymous, Da Unten Im Tale
219
anonymous, I Want To Be Ready (United States)
220
G.B. Fasolo, Cangia,
Cangia Tue Voglie
221
anonymous, The Ash Grove (Wales)
222
W.H.C. West, The Jenny Lind Mania (United States)
223
anonymous, Au Jardin de Mon P`ere (France)
224
Richard Strauss, Devotion
IV-2. Leaps Within the Subdominant, Major Keys 67
225
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226
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225
anonymous, I Ride an Old Paint (United States)
226
G.F. Handel, aria ‘Hush ye pretty warbling quire’ from Acis and
Galatea
227
Thomas Tallis, If Ye Love Me
228
anonymous, Sinner Won’t Die No More (Tennessee)
68 Chapter IV. Other Diatonic Materials
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229
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229
W.A. Mozart, opening from clarinet quintet
230
anonymous, The Gold Band (Tennessee)
231
Giovanni Battista
Pergolesi, tune from Stabat Mater
IV-2. Leaps Within the Subdominant, Major Keys 69
232
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233
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Moderato
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232
anonymous, Bonnie Wee Window (Arkansas)
233
J.S. Fearis, Beautiful Isle of Somewhere
234
anonymous, Red
River Valley
235
anonymous, I’m In Trouble (Florida)
236
Franz Joseph Haydn, introduction, London symphony
237
anonymous, Cowboy’s Home Sweet Home (Arkansas)
70 Chapter IV. Other Diatonic Materials
/
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242
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238
anonymous, Calinda (Louisiana)
239
anonymous, The Braes O Yarrow (Scotland)
240
W.A. Mozart, andante from
string quartet # 2
241
anonymous, The Wild Moor (Missouri)
242
Johannes Brahms, introduction, 1st symphony
IV-2. Leaps Within the Subdominant, Major Keys 71
243 ,

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245
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246
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3
243
anonymous, Caroline (Louisiana)
244
anonymous, Avril (France)
245
W.A. Mozart, menuet from string quartet #
10
246
anonymous, The Hallowed Spot (Missouri)
72 Chapter IV. Other Diatonic Materials
247
,
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2
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248
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247
anonymous, folk song (Russia)
248
anonymous, The Ship That Never Returned (Missouri)
249
Pier Domenico
Paradies, M’ha Preso Alla Sua Ragna
IV-2. Leaps Within the Subdominant, Major Keys 73
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250
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Gehalten und empfindungsvoll
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250
anonymous, Die Sonne Scheint Nicht Mehr
74 Chapter IV. Other Diatonic Materials
IV-3 Wide Leaps Within the Subdominant
251
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251
W.A. Mozart, presto from string quartet # 4
252
J. Ellor, Diadem
253
W.A. Mozart, rondo from string quartet # 6
254
anonymous, Adieu, Bonne Hˆ otesse (France)
IV-3. Wide Leaps Within the Subdominant 75
255 ,
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2 ,
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256
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Moderato
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255
anonymous, Derri`ere Chez Moi (France)
256
Stephen Foster, The Song of All Songs
76 Chapter IV. Other Diatonic Materials
IV-4 Leaps Within the Subdominant, Minor Keys
257
.
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258 ,
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259
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260
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261
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257
G.A. Wedge
258
G.A. Wedge
259
G.A. Wedge
261
anonymous, Hanukah O Hanukah
IV-4. Leaps Within the Subdominant, Minor Keys 77
/
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263
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264
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265
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266
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,
/
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262
anonymous, Vivo Llorando la Suerte (Mexico)
263
W.A. Mozart, Osanna (bass solo, allegro) from Sanctus, Requiem
264
J.S. Bach, trio from Brandenburg concerto # 1
265
anonymous, Que No Te Amo (Mexico)
266
anonymous, folk song
(Russia)
78 Chapter IV. Other Diatonic Materials
/
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267
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268
4
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,
Lightly
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.
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267
anonymous, folk song (Russia)
268
anonymous, Entre Vous Tous Gens de la Ville (France)
IV-4. Leaps Within the Subdominant, Minor Keys 79
IV-5 Leaps of a Seventh
With leaps of a seventh, as with any very broad leap, the most common problem is simply the
inability to reach the note. Make sure to sing each example in an appropriate key. If the leap of a
seventh is upward, find the lowest key in which you can comfortably sing the lowest note of the melody.
A factor in the sight-singer’s favor is that the most difficult leaps to sing are usually the ones that
are ugly as well, and therefore composers don’t write them; in real music, most leaps of a seventh
occur in certain special contexts that make them both easier to sing and more acceptable to the ear.
Although it is possible to memorize the sounds of the minor and major seventh leaps and sing them
on demand, that’s a fundamentally unnatural way to think about melody; keep in mind that most of
the examples in this section are folk songs created by people who were illiterate, and probably could
not have performed such a trick themselves.
Another technique for use when all else fails is to imagine the seventh as a downward step, with the
second note moved up an octave. In all the following examples, however, we’ll see that there are better
solutions arising naturally from the logic of the melodic line.
The first example is easy, because the leap begins a repetition.
269
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.
.
,

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,
The next two examples are not much harder; there is repetition, but at a pitch one step higher.
270
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Lively
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8
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271
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269
W.A. Mozart, menuet from string quartet # 8
270
C. Hess, Little Charley Went a Fishing
271
folk song
80 Chapter IV. Other Diatonic Materials
In the next tune, the leap upward from ‘ti’ to ‘la’ is heard as the inversion of the earlier step down
from ‘ti’ to ‘la.’
272
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8
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The next example has a leap of a seventh as part of a dominant seventh chord. It resolves downward
to ‘mi,’ and this ‘fa-mi’ relationship is one of the most prominent landmarks of the key, so you may
find that the easiest way to hit the ‘fa’ is simply by locating ‘fa-mi.’
273
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4
3
4
3
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,
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,
,
,
This tune, like the preceding one, uses the familiar ‘so-fa-mi’ pattern. The leap is also made easier
because we’ve just sung ‘fa’ in the low register, and because, looking ahead, we anticipate the de-
scending scale ‘fa-mi-re-do.’
274
4
2
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272
anonymous, Carmela (Mexico)
273
W.A. Mozart, menuet from string quartet # 1
274
anonymous, Gwine Follow
(South Carolina)
IV-5. Leaps of a Seventh 81
/
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,
Another ‘so-fa-mi’ example. The ‘fa’ is heard as part of a logical progression of prominent high points
in the line.
275
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277
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3 3 3
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3 3
275
Felix Mendelssohn, aria ‘If with all your hearts ye truly seek me’ from Elijah
276
anonymous, Widdecombe Fair
(England)
277
anonymous, Walk, Shepherdess, Walk (Arkansas)
278
anonymous, Reir Es Necesario (Mexico)
82 Chapter IV. Other Diatonic Materials
279
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Moderato
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280
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281
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282
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279
anonymous, folk song (Russia)
280
anonymous, A Quinze Ans (France)
281
W.A. Mozart, menuet from string quartet
# 8
282
W.A. Mozart, presto from string quartet # 7
IV-5. Leaps of a Seventh 83
IV-6 Other Perfect Fourths and Fifths
We’ve already sung leaps of a fourth and a fifth within the tonic, dominant, and subdominant chords,
and those leaps strongly implied their chords. For instance, it’s difficult to hear the ‘so-re’ leap without
perceiving a dominant chord. Although other leaps of a fourth or a fifth may imply other triads, in
real music they are more commonly produced not by the harmony but by the logic of the melody
itself. In the first example, the composer simply wants to repeat a molodic idea at a different pitch.
The ‘la’ is easily sung by thinking of it in relation to the ‘do’ it leads up to.
283
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,
In this example, the leap from ‘la’ to ‘re’ is heard as an imitation of the preceding ‘so-do’ leap.
284
4
2
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Here, we really have the easy ‘so-mi’ leap, but with ‘la’ interposed.
285
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283
W.A. Mozart, opening from string quartet # 4
284
folk song
285
anonymous, La Rana (Mexico)
84 Chapter IV. Other Diatonic Materials
/
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286
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Tempo di valse
/
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287
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6 ,
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288
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289
8
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8
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286
Charles K. Harris, After the Ball
287
A.S. Sullivan, Take a Pair of Sparkling Eyes
288
A.S. Sullivan, Sing Hey to
You, Good-Day to You!
289
Stephen Foster, Slumber My Darling
IV-6. Other Perfect Fourths and Fifths 85
290
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291
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3 ,
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292

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4
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293
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294 ,
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290
Nikolai Rimsky-Korsakov, Scheherezade (theme from third movement)
291
Beethoven, opening movement from string
quartet # 1
292
W.A. Mozart, trio from string quartet # 1
293
Franz Abt, Kathleen Aroon
294
Attributed to Guiseppe
Giordiano,, Caro Mio Ben
86 Chapter IV. Other Diatonic Materials
295 ,
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296 ,
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297 ,
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298
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299
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295
anonymous, R´emon (Louisiana)
296
anonymous
297
Giovanni Battista Pergolesi, aria from Stabat Mater
298
J.S.
Bach, menuet II from cello suite # 2
299
Johannes Brahms, introduction, 1st symphony
IV-6. Other Perfect Fourths and Fifths 87
/
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300 ,
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Moderato
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301
8
6
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·
Zaertlich und lebhaft
,
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6
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302
4
2
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,
In ruhigem Zeitmass und teilnehmend erzaehlt
, ,
,

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300
Darius Milhaud, Chant de Sion
301
anonymous, Sagt Mir, O Sch¨ onste Sch¨ af ’rin Mein
302
anonymous, Gunhilde
88 Chapter IV. Other Diatonic Materials
/
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303
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4
3
,
Mit guter Laune
,
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304
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303
anonymous, Ach, Englische Schaeferin
304
J.S. Bach, Chorale, ‘W¨ ar’ Gott Nicht Mit Uns Diese Zeit’
IV-6. Other Perfect Fourths and Fifths 89
IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale
305
,
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,,
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306 ,
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307
·
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¸,
,
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,,
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308 ,
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306
anonymous, O Daniel (Florida)
307
J.S. Bach, Invention 2
308
W.A. Mozart, andante un poco allegretto from string
quartet # 5
90 Chapter IV. Other Diatonic Materials
309
,
,
Lullabye
,
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309
Abraham Goldfaden, Raisins with Almonds
IV-7. The Diminished Seventh Chord, and the Harmonic Minor Scale 91
92 Chapter IV. Other Diatonic Materials
Chapter V
Nondiatonic Materials
V-1 Secondary Dominants and Lower Neighbor Tones
310 ,
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311
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312
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310
Martin Luther, A Mighty Fortress Is Our God
311
anonymous, Kevin Barry (Ireland)
312
Who Got Dirt on the
Carpet Again?
313
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314
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315
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316
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313
anonymous, Autrefois le Rat de Ville (France)
314
W.A. Mozart, aria from the Magic Flute
315
anonymous, Let
God’s Saints Come In (Virginia)
316
anonymous, Vivo Penando (California)
94 Chapter V. Nondiatonic Materials
317
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318
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319
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320
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317
anonymous, Allan Maclean (Scotland)
318
Alessandro Stradella, Ragion Sempre Addita
319
anonymous, Dans le
Port, Il Est Arriv´e (France)
320
George F. Root, Brother, Tell Me of the Battle
V-1. Secondary Dominants and Lower Neighbor Tones 95
321
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322
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323 ,

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321
J.H. McNaughton, The Faded Coat of Blue
322
W.A. Mozart, menuet from string quartet # 1
323
Franz Joseph
Haydn, adagio poco cantabile from string quartet, Op. 73, #3 (‘Emperor’)
96 Chapter V. Nondiatonic Materials
/
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,

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324
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325
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326
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324
anonymous, Crep´ usculo (Mexico)
325
anonymous, Media Noche (California)
326
Giovanni Battista Pergolesi, tune
from Stabat Mater
V-1. Secondary Dominants and Lower Neighbor Tones 97
/
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327 ,
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328
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329

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327
J.S. Bach, Bourr´ee II from orchestral suite #2
328
anonymous, The Cruel Mother (England)
329
Alice Hawthorne,
Out of Work
98 Chapter V. Nondiatonic Materials
330
, ,
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4
2
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4
2
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Not fast
,
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331
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4
3
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,
Tempo di valse
4
3
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332
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3
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3
330
Scott Joplin, The Easy Winners
331
Gus Edwards, In My Merry Oldsmobile
332
anonymous, Erlaube Mir, Fein’s
M¨ adchen
V-1. Secondary Dominants and Lower Neighbor Tones 99
/
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333
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334 ,
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333
J.S. Bach, Menuet I from orchestral suite #1
334
G.F. Handel, chorus from ‘Judas Maccabaeus’
100 Chapter V. Nondiatonic Materials
/
.
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V-1. Secondary Dominants and Lower Neighbor Tones 101
V-2 Blue Notes
335
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336


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338 ,
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,
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335
anonymous, The Graveyard (South Carolina)
336
anonymous, Roll, Jordan, Roll (United States)
337
anonymous,
Cyclone at Ryecove (Missouri)
338
James Reese Europe, Goodnight Angeline
102 Chapter V. Nondiatonic Materials
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339
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339
anonymous, ’Tis Me, O Lord (Unites States)
V-2. Blue Notes 103
V-3 Relative Minor and Major
340
4
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341
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In ruhiger Bewegung
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342
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340
anonymous, Schwesterlein
341
anonymous, Es Ritt ein Ritter
342
anonymous, Cradle Song (Sweden)
343
J.S. Bach,
Chorale, ‘Befiehl du deine Wege’
344
J.S. Bach, Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’
104 Chapter V. Nondiatonic Materials
/
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345
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Heimlich und zierlich bewegt
,
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346
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345
anonymous, Feinsliebchen, Du Sollst
346
J.S. Bach, Chorale, ‘Gib Dich Zufrieden und Sei Stille’
V-3. Relative Minor and Major 105
106 Chapter V. Nondiatonic Materials
Chapter VI
The C Clef
This chapter recapitulates some melodies from earlier chapters, using the C clef. The clef indicates
middle C. In modern music, the C clef is used almost exclusively for the viola, but it will also be
encountered in older scores, both vocal and instrumental, as an equally important companion to the
treble and bass clefs. The C clef is a movable clef, but the examples in this chapter are all given with
C placed at the middle line. Sight-singing from the C clef is not difficult, because one merely follows
the usual procedure of determining which line or space on the staff represents ‘do,’ and reading all
other notes relative to it. A trick for instrumentalists is to imagine that the middle line is really the
ledger line for middle C on the grand staff, while the top two lines belong to the treble clef, and the
bottom two to the bass clef. (The same trick can be handy for vocalists when using the key signature
to find the tonic on the staff.)
347 ,
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349
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351 c ,
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349
anonymous, The Ash Grove (Wales)
350
Franz Joseph Haydn, menuet Oxford symphony
351
folk song
c , ,

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352
anonymous, Wach’ Auf, Mein Hort
353
anonymous, La Paloma Blanca (Arizona)
354
Gustav Holst, Venus theme
from The Planets
108 Chapter VI. The C Clef
355 c

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356
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357
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358
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The following three examples are in the minor mode.
359
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,
c
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355
folk song
356
Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater
357
W.A. Mozart, aria (Papageno)
from ‘The Magic Flute’
358
Franz Joseph Haydn, finale, London symphony
359
anonymous, Every Hour in the Day
(Georgia)
360
anonymous, lullabye (Russia)
361
anonymous, Feinsliebchen, Du Sollst
109
c ,
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110 Chapter VI. The C Clef
Thematic Index
ddddddtl — p. 22, no. 48
dddddrmf — p. 21, no. 45
dddddtdr — p. 23, no. 49
ddddmdss — p. 83, no. 282
ddddmfsl — p. 50, no. 157
ddddmsff — p. 35, no. 101
ddddffff — p. 38, no. 116
ddddslsd — p. 30, no. 74
ddddsltd — p. 22, no. 46; p. 22, no. 47
ddddtltd — p. 23, no. 50
dddrrmmf — p. 19, no. 29; p. 107, no. 348
dddmdsmm — p. 53, no. 169; p. 109, no. 359
dddmmssm — p. 81, no. 274
dddmssll — p. 67, no. 219
dddsmmrd — p. 57, no. 188
dddsllls — p. 65, no. 212
dddsltdt — p. 93, no. 310
ddrdmfss — p. 31, no. 78
ddrrmmrd — p. 30, no. 75
ddrmrdrr — p. 28, no. 68
ddrmrrmr — p. 87, no. 297
ddrmrmfm — p. 45, no. 141
ddrmmrdf — p. 68, no. 227
ddrmmmfs — p. 26, no. 56
ddrmfsss — p. 36, no. 105
ddrmfssl — p. 67, no. 223
ddmrdrrm — p. 29, no. 70
ddmmrmdd — p. 27, no. 61
ddmmmdts — p. 37, no. 109
ddmsltdt — p. 53, no. 167
ddsdrmfs — p. 79, no. 268
ddtdrdrm — p. 25, no. 54
ddtlsdrm — p. 36, no. 104
ddtltdrm — p. 89, no. 304
ddtltlls — p. 25, no. 51
drddtdrm — p. 20, no. 36
drdrdrmr — p. 49, no. 146
drdtdsdr — p. 86, no. 291
drdtlsls — p. 19, no. 32
drmdrmrm — p. 52, no. 163
drmrdtdr — p. 49, no. 152
drmrmfmf — p. 19, no. 28; p. 107, no. 347
drmrmfsf — p. 19, no. 31
drmrfmrt — p. 96, no. 323
drmmmrfm — p. 84, no. 283
drmmmmsm — p. 29, no. 72
111
drmmmsrr — p. 42, no. 130
drmmfsds — p. 54, no. 173
drmmflss — p. 67, no. 218
drmfrmdm — p. 57, no. 190
drmfmrdt — p. 49, no. 150
drmfmrmf — p. 20, no. 37
drmfmfsl — p. 21, no. 44
drmfsmfs — p. 44, no. 138
drmfsfsl — p. 90, no. 305
drmfssfm — p. 37, no. 113
drmfsssf — p. 20, no. 33
drmfslsf — p. 49, no. 147
drmfslss — p. 56, no. 184
drmfslsl — p. 50, no. 154; p. 50, no. 156
drmfsltd — p. 19, no. 27
drssmddf — p. 73, no. 248
dmddmssl — p. 53, no. 164
dmdmsffm — p. 28, no. 67
dmdsdmsd — p. 27, no. 58
dmdslfmf — p. 100, no. 333
dmdtdrmm — p. 54, no. 171
dmrdmfst — p. 59, no. 198
dmrdssms — p. 32, no. 83
dmrsdmrs — p. 56, no. 181; p. 109, no. 360
dmrtdmrt — p. 75, no. 251
dmmmrfff — p. 63, no. 205
dmmflssm — p. 70, no. 237
dmsdmssm — p. 32, no. 80
dmsdlsdd — p. 66, no. 216
dmsdtdrm — p. 55, no. 174
dmsrdrmm — p. 44, no. 137
dmsmrflf — p. 90, no. 308
dmsmmddt — p. 58, no. 193
dmsmfrfr — p. 87, no. 295
dmsmslsf — p. 52, no. 161
dmsfslsf — p. 93, no. 312
dmssdtrr — p. 66, no. 217
dmssdtls — p. 28, no. 65
dmsssmfs — p. 27, no. 59
dmssssfm — p. 91, no. 309
dmsslfsd — p. 65, no. 214
dmslsddr — p. 35, no. 95
dmslsmss — p. 35, no. 98
dsdrmfsf — p. 53, no. 165
dsdsdsdm — p. 34, no. 90
dsdtdsmr — p. 56, no. 180
dsmdrmrt — p. 102, no. 338
dsmdslsm — p. 52, no. 159
112 Chapter VI. The C Clef
dsmdslst — p. 77, no. 259
dsmrdrmd — p. 53, no. 166
dsmrdrmf — p. 27, no. 62; p. 109, no. 356
dsmrdlsf — p. 77, no. 258
dsmrmfmr — p. 94, no. 313
dsmsmdrm — p. 38, no. 118
dsfmddsf — p. 55, no. 179
dssdddfl — p. 104, no. 342
dssfrdtl — p. 80, no. 269; p. 83, no. 281
dssfsfmr — p. 72, no. 244
dsssslls — p. 46, no. 144
dsslsmrd — p. 55, no. 175
dsslsfmd — p. 34, no. 91
dssltddm — p. 36, no. 106
dslsfmrd — p. 76, no. 256
dsltdrms — p. 95, no. 318
dsltdmfs — p. 33, no. 89
dtddddrm — p. 52, no. 158
dtdrrdrm — p. 20, no. 34; p. 40, no. 121
dtdrmfsl — p. 49, no. 149
dtdrmsfm — p. 98, no. 327
dtdrmslt — p. 90, no. 307
dtfmdsls — p. 78, no. 263
dtlsfmrd — p. 50, no. 153
dtlsfmms — p. 67, no. 220
dtlslsfm — p. 68, no. 226; p. 86, no. 294
rddrmrdr — p. 49, no. 148
rmfsdmrd — p. 42, no. 131
rsdsdddd — p. 70, no. 233
mdrmfsfm — p. 45, no. 140
mdrmfsss — p. 87, no. 298
mdmrdtrs — p. 58, no. 197
mdmrsmrd — p. 55, no. 176
mdmfmrdl — p. 77, no. 257
mrdddttl — p. 28, no. 69
mrddrdtd — p. 35, no. 97; p. 109, no. 357
mrddmmsr — p. 57, no. 187
mrdrmrdm — p. 85, no. 289
mrdrsmdr — p. 37, no. 111
mrdmrddl — p. 65, no. 215
mrdmssms — p. 33, no. 87
mrdslsfm — p. 53, no. 170
mrdslslf — p. 86, no. 293
mrdslstr — p. 43, no. 135; p. 108, no. 353
mrdtdrmr — p. 21, no. 43
mrmdmfss — p. 32, no. 82
mrmfmrds — p. 56, no. 183
mrmfmrsf — p. 41, no. 125
113
mrmfssmr — p. 27, no. 63
mmdrsmdm — p. 40, no. 123
mmrdtdrd — p. 36, no. 107
mmrmstls — p. 104, no. 344
mmmrdddd — p. 103, no. 339
mmmfmmrr — p. 40, no. 120
mmfssfmr — p. 19, no. 30
mmslslsl — p. 99, no. 330
mfrdrmfs — p. 70, no. 236
mfrmdlsf — p. 78, no. 264
mfmrdmfs — p. 25, no. 53
mfmmrdtd — p. 49, no. 151
mfsmdttd — p. 63, no. 207
mfsmrtds — p. 37, no. 112; p. 107, no. 350
mfsmfsmr — p. 69, no. 230
mfssfmrr — p. 25, no. 55
mfssfsls — p. 93, no. 311
mfsssfsl — p. 95, no. 317
mfsssssm — p. 37, no. 110
mfsssssl — p. 45, no. 142
mfssltdt — p. 97, no. 325
mfslsmrd — p. 86, no. 290
mfslsffs — p. 71, no. 241
msrsmdtd — p. 75, no. 253
msmdrmsm — p. 29, no. 71
msmrdsfm — p. 82, no. 277
msmfmrdm — p. 102, no. 335
msmffflf — p. 71, no. 238
msmsslfl — p. 65, no. 211
msmlmsml — p. 85, no. 286
msssffmm — p. 37, no. 108
mtrddrmr — p. 64, no. 209
ffdddtdr — p. 104, no. 341
fslsfmfs — p. 73, no. 247
sdddddrr — p. 44, no. 139; p. 107, no. 351
sddddrrr — p. 43, no. 132
sddddmrd — p. 102, no. 336
sddddtdr — p. 78, no. 266
sddddtss — p. 90, no. 306
sdddmddm — p. 31, no. 76
sdddlssd — p. 68, no. 225
sdddtdrs — p. 26, no. 57
sddrmfsl — p. 89, no. 303
sddrtddm — p. 84, no. 284
sddmdtls — p. 82, no. 276
sddmmssm — p. 41, no. 124; p. 109, no. 355
sddtlslf — p. 77, no. 260
sdrdsdrm — p. 55, no. 177
114 Chapter VI. The C Clef
sdrmdmmr — p. 35, no. 99
sdrmdsrd — p. 65, no. 213
sdrmrdrm — p. 27, no. 64
sdrmmfmd — p. 28, no. 66; p. 81, no. 272
sdrmmffs — p. 57, no. 191
sdrmfrdt — p. 59, no. 200
sdrmfmfs — p. 45, no. 143
sdrmfsdr — p. 75, no. 252
sdrsdrmr — p. 63, no. 208
sdmdmdmr — p. 88, no. 301
sdmrdrms — p. 34, no. 92
sdmrfmrd — p. 88, no. 300
sdmmmmrm — p. 70, no. 234
sdmmfmrr — p. 99, no. 332
sdmsdmsd — p. 104, no. 340
sdmsrmld — p. 86, no. 292
sdmsfmdd — p. 67, no. 221; p. 107, no. 349
sdmssdms — p. 42, no. 127; p. 108, no. 352
sdsdrmrr — p. 40, no. 122
sdtdrmfs — p. 63, no. 206
sdtdlsdr — p. 71, no. 242; p. 87, no. 299
sdtlsfsr — p. 59, no. 199; p. 104, no. 343
sdtlslsf — p. 97, no. 326
sdtltdtl — p. 85, no. 288
srmtdrrs — p. 64, no. 210
smdsslsd — p. 38, no. 117
smrdrmfr — p. 69, no. 229
smrdsmrd — p. 33, no. 88
smrdtlds — p. 33, no. 86
smrdttdl — p. 82, no. 275
smrrdmrs — p. 38, no. 115; p. 108, no. 354
smrmdsss — p. 75, no. 254
smrmrtdd — p. 58, no. 196
smmddtrm — p. 67, no. 222
smmrrddt — p. 88, no. 302
smmrrmmd — p. 61, no. 204
smmmrddd — p. 27, no. 60
smmmmrrr — p. 80, no. 271
smmmmfmr — p. 96, no. 321
smfsdrmf — p. 100, no. 334
smfslsmd — p. 52, no. 162
smfslsfm — p. 105, no. 346
smsmrdmr — p. 32, no. 84; p. 33, no. 85
smsfmrsf — p. 60, no. 202
smslssmd — p. 32, no. 81; p. 41, no. 126
sfrfmdss — p. 42, no. 129; p. 109, no. 358
sfmrrdtl — p. 20, no. 39
sfmmmmfm — p. 68, no. 228
115
sfmmsdsm — p. 43, no. 134
sfmfmmfs — p. 21, no. 41
sfmfsdrd — p. 25, no. 52
sfmfsldt — p. 72, no. 245
sfmfsltd — p. 71, no. 240
sfmsmsmf — p. 99, no. 331
sfmsfmrd — p. 31, no. 77; p. 81, no. 273; p. 96, no. 322
sfslsfss — p. 56, no. 186
sflsftrd — p. 95, no. 320
ssdddtdr — p. 56, no. 185; p. 76, no. 255
ssdddttd — p. 71, no. 239
ssddrmrd — p. 42, no. 128
ssddmrtd — p. 67, no. 224
ssddssmm — p. 95, no. 319
ssddsldr — p. 72, no. 246
ssddtddr — p. 105, no. 345; p. 109, no. 361
ssdrdtdr — p. 36, no. 103
ssdrmmmm — p. 97, no. 324
ssdmrdrm — p. 78, no. 265
ssdmsfmf — p. 34, no. 94
ssdssmmr — p. 43, no. 133
ssdtdrdt — p. 98, no. 329
ssdtrddt — p. 83, no. 279
ssdtfmsm — p. 44, no. 136
ssmdddrm — p. 58, no. 194
ssmddtll — p. 38, no. 114
ssmdsfrm — p. 55, no. 178
ssmrddtd — p. 80, no. 270
ssmrdssf — p. 70, no. 232
ssmrdtdr — p. 58, no. 195
ssmmmddt — p. 94, no. 314
ssmmssrr — p. 40, no. 119
ssfmmrdr — p. 69, no. 231
sssddmms — p. 83, no. 280
sssdmsss — p. 56, no. 182
sssmfsls — p. 72, no. 243
sssffmmm — p. 35, no. 100
ssssdsss — p. 36, no. 102; p. 77, no. 261
ssssssss — p. 30, no. 73
sssslsmm — p. 102, no. 337
sssslssd — p. 57, no. 189
ssslsssf — p. 50, no. 155
sslddsfm — p. 70, no. 235
sslsmsss — p. 94, no. 315
sslsfmrd — p. 52, no. 160
sslsfmrl — p. 87, no. 296
sslsfmmf — p. 59, no. 201
sslsffmm — p. 57, no. 192
116 Chapter VI. The C Clef
ssltddtl — p. 20, no. 38
ssltdtdr — p. 31, no. 79
ssltdtdt — p. 20, no. 35
ssltdttt — p. 53, no. 168
slsmdsls — p. 35, no. 96
slsmrddt — p. 78, no. 262
slsffmmr — p. 21, no. 42
slssddrm — p. 34, no. 93
slslsdtd — p. 60, no. 203
slslsssd — p. 82, no. 278
sltdrmrm — p. 21, no. 40
sltdmmrd — p. 94, no. 316
strsfmfs — p. 79, no. 267
stlsmfsd — p. 98, no. 328
lmrdsdrm — p. 74, no. 250
lmsltddt — p. 85, no. 287
lsslssls — p. 54, no. 172
tdmddrfr — p. 46, no. 145
117
118 Chapter VI. The C Clef
Index
’Tis Me, O Lord, 103
¨
Annchen von Tharau, 34
Absent Davie, 33
Abt, Franz
Kathleen Aroon, 86
Ach, Englische Schaeferin, 89
adagio poco cantabile from string quartet, Op.
73, #3, Franz Joseph Haydn, 96
Adieu, Bonne Hˆ otesse, 75
After the Ball, Charles K. Harris, 85
Ah Mon Beau Chˆ ateau, 34
Ah, Suzette, Ch`ere, 43
Ainsi Font, Font, Font, 35
Allan Maclean, 95
allegro from Eine kleine Nachtmusik, W.A. Mozart,
34
Alouette (rhythm only), , 15
Am Feierabend, Franz Schubert, 58
Amarilli, Mia Bella, Giulio Carcini, 64
America the Beautiful, Katharine Lee Bates, 40
andante un poco allegretto from string quartet
# 5, W.A. Mozart, 90
Angel de Mis Amores, 58
Annie Laurie, 28
anonymous
’Tis Me, O Lord, 103
¨
Annchen von Tharau, 34
A, 3/4, 83
A, 4/4, 80
A, 6/8, 44
A, 3/4, 44
Absent Davie, 33
Ach, Englische Schaeferin, 89
Adieu, Bonne Hˆ otesse, 75
Ah Mon Beau Chˆ ateau, 34
Ah, Suzette, Ch`ere, 43
Ainsi Font, Font, Font, 35
Allan Maclean, 95
Angel de Mis Amores, 58
Annie Laurie, 28
Arlequin Marie Sa Fille, 65
Arlequin Tient Sa Boutique, 40
As-Tu Vu la Casquette?, 32
Ash Grove, The, 67, 107
Au Jardin de Mon P`ere, 67
Autrefois le Rat de Ville, 94
Aux Marches du Palais, 40
Avril, 72
Ballade de Roland, 40
Barbara Allan, 42
Beggar Girl, The, 31
Bonnie Wee Window, 70
Bonniest Lass in a’ The Land, The, 66
Braes O Yarrow, The, 71
Brother, Guide Me Home, 35
C, 3/4, 26
C, 6/8, 107
Calinda, 71
Carmela, 28, 81
carol, 20
Caroline, 72
Chill Ether, 44
Cowboy’s Home Sweet Home, 70
Cradle Song, 104
Crep´ usculo, 97
Cruel Mother, The, 98
Cyclone at Ryecove, 102
d, 4/4, 78
Da Unten Im Tale, 67
Dans la Forˆet Lointaine, 31
Dans le Port, Il Est Arriv´e, 95
Dans Notre Jardin, 42
Derri`ere Chez Moi, 76
Die Sonne Scheint Nicht Mehr, 74
Down in the Valley, 35
Duke of Argyle’s Courtship, The, 45
e, 3/4, 64
En Avant, Gr´enadiers, 58
En Revenant d’Auvergne, 30
Entendez-Vous Sur l’Ormeau, 30
Entre Vous Tous Gens de la Ville, 79
Erlaube Mir, Fein’s M¨ adchen, 99
Es Ritt ein Ritter, 104
Every Hour in the Day, 53, 109
F, 2/4, 65
f, 2/4, 79
Feinsliebchen, Du Sollst, 105, 109
Forget na’, dear Lassie, 53
G, 2/4, 32, 73, 84, 87
G, 3/4, 34
G, 6/8, 41, 109
Gar Lieblich Hat Sich Gesellet, 46
Gardez Piti Milatte-l` a, 37
Go Down, Moses, 61
Gold Band, The, 69
Graveyard, The, 102
Gunhilde, 88
Guten Abend, 56
Gwine Follow, 81
Gypsy Warning, The, 42
Hallowed Spot, The, 72
Hanukah O Hanukah, 77
I Ride an Old Paint, 68
I Want To Be Ready, 67
I’m In Trouble, 70
If Your Foot Is Pretty, Show It, 38
Jehovah, Hallelujah, 65
Jungfr¨ aulein, Soll Ich Mit Euch Gehn, 43
Kevin Barry, 93
la Claire Fontaine, A, 27
Lang Johnny More, 66
Lawlan’ Jenny, 29
Let God’s Saints Come In, 94
Lolotte, 57
lullabye, 56, 109
Media Noche, 97
Mi Sue˜ no, 59
Musieu Bainjo, 35
My Father, How Long?, 28
My Field, 55
O Daniel, 90
Ojos Mexicanos, Los, 57
Paloma Blanca, La, 43, 108
Poor Rosy, 32, 33
Praise, Member, 32, 41
Que No Te Amo, 78
Quinze Ans, A, 83
R´emon, 87
Rana, La, 84
Recouvrance, A, 27
Red River Valley, 70
Reir Es Necesario, 57, 82
Roll, Jordan, Roll, 102
Sagt Mir, O Sch¨ onste Sch¨ af’rin Mein, 88
Sch¨ onster Schatz, Mein Engel, 35
Schwesterlein, 104
Serenata, 36, 38
Ship That Never Returned, The, 73
Shout On, Children, 37
Sinner Won’t Die No More, 68
Thou Poor Bird, 54
Tristes Horas, Las, 56
Tu Eres Mas Bella, 41
Vivo Llorando la Suerte, 78
Vivo Penando, 94
Wach’ Auf, Mein Hort, 42, 108
Walk, Shepherdess, Walk, 82
Widdecombe Fair, 82
Wild Moor, The, 71
Ya Viene El Alba, 63
Arlequin Marie Sa Fille, 65
Arlequin Tient Sa Boutique, 40
As-Tu Vu la Casquette?, 32
Ash Grove, The, 67, 107
Au Jardin de Mon P`ere, 67
Autrefois le Rat de Ville, 94
Aux Marches du Palais, 40
Avril, 72
Away in a Manger (rhythm only), , 15
Bach, J.S.
Bourr´ee II from orchestral suite #2, 98
Chorale, ‘Befiehl du deine Wege’, 104
Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’,
104
Chorale, ‘Es ist gewisslich an der Zeit’, 28
Chorale, ‘Es spricht der Unweisen Mund
wohl’, 36
Chorale, ‘Es steh’n vor Gottes Throne’, 54
Chorale, ‘Gib Dich Zufrieden und Sei Stille’,
105
Chorale, ‘Herr, nun lass in Friede’, 53
Chorale, ‘Herr, wie du willst, so schick’s mit
mir’, 20, 40
Chorale, ‘Jesu, meiner Seelen Wonne’, 25
Chorale, ‘Liebster Jesu, wir sind hier’, 37
Chorale, ‘Mach’s mit mir, Gott, nach deiner
Gut’, 37
Chorale, ‘Nun ruhen alle Walder’, 45
Chorale, ‘Nun sich der Tag geendet hat’, 57
Chorale, ‘O Haupt voll Blut und Wunden,’
from St. Matthew’s Passion, 59
Chorale, ‘O Traurigkeit, o Herzeleid’, 58
120 Index
Chorale, ‘Seelenbr¨ autigam, Jesu, Gottes Lamm’,
25
Chorale, ‘Valet will ich dir geben’, 36
Chorale, ‘Von Gott will ich nicht lassen’, 59
Chorale, ‘W¨ ar’ Gott Nicht Mit Uns Diese
Zeit’, 89
Chorale, ‘Wenn wir in h¨ ochsten N¨ oten sein’,
45
Chorale, ‘Wie bist du Seele in mir so gar
betr¨ ubt’, 36
Gavotte II from cello suite # 5, 56
Invention 2, 90
Menuet I from orchestral suite #1, 100
menuet II from cello suite # 2, 87
trio from Brandenburg concerto # 1, 78
Ballade de Roland, 40
Barbara Allan, 42
Bates, Katharine Lee
America the Beautiful, 40
Beautiful Angel, The, Pierre Latour, 20
Beautiful Isle of Somewhere, J.S. Fearis, 70
Beckoning the Chickens, Froebel, 32
Beckoning the Pigeons, Froebel, 31
Beethoven
Ode to Joy, 19
opening movement from string quartet #
1, 86
opening theme of Symphony #3, 27
Beggar Girl, The, 31
Beuttner, Nikolaus
Es kam ein treuer Bote, 36
Bingo (rhythm only), , 13
Bonnie Wee Window, 70
Bonniest Lass in a’ The Land, The, 66
Bourr´ee II from orchestral suite #2, J.S. Bach,
98
Braes O Yarrow, The, 71
Brahms, Johannes
introduction, 1st symphony, 71, 87
Nachtwache 1, 58
Broadway Sights, W.H. Latham, 27
Brother, Guide Me Home, 35
Brother, Tell Me of the Battle, George F. Root,
95
Calinda, 71
Cangia, Cangia Tue Voglie, G.B. Fasolo, 67
Carcini, Giulio
Amarilli, Mia Bella, 64
Carmela, 28, 81
Caro Mio Ben, Attributed to Guiseppe Gior-
diano,, 86
carol, 20
Caroline, 72
Chant de Sion, Darius Milhaud, 88
Chill Ether, 44
chorus from Judas Maccabaeus, G.F. Handel,
100
Cowboy’s Home Sweet Home, 70
Cradle Song, 104
Crep´ usculo, 97
Crowell, B.
a, 3/4, 49
A, 4/4, 33
a, 4/4, 49, 90
a, 6/8, 49
A, 4/4, 21
B, 3/4, 1, 33
B, 4/4, 20
B, 4/4, 1, 46
C, 3/4, 19, 21, 107
c, 3/4, 52
C, 4/4, 19, 25, 107
c, 4/4, 52
C, 4/4, 1, 21
D, 4/4, 21
E, 3/4, 20
F, 3/4, 25
f, 4/4, 53
G, 3/4, 19, 25, 38
G, 4/4, 22, 26
g, 4/4, 77
G, 6/8, 21
g, 9/8, 55
G, 4/4, 21
Who Got Dirt on the Carpet Again?, 52,
93
Cruel Mother, The, 98
Cyclone at Ryecove, 102
Da Unten Im Tale, 67
Danksagung an den Bach, Franz Schubert, 63
Dans la Forˆet Lointaine, 31
Dans le Port, Il Est Arriv´e, 95
Dans Notre Jardin, 42
Das Wandern, Franz Schubert, 44
Index 121
Dearest Spot on Earth, The, W.T. Wrighton,
33
Derri`ere Chez Moi, 76
Devotion, Richard Strauss, 67
Diadem, J. Ellor, 75
Die Sonne Scheint Nicht Mehr, 74
Down in the Valley, 35
Duke of Argyle’s Courtship, The, 45
Easy Winners, The, Scott Joplin, 99
Edwards, Gus
In My Merry Oldsmobile, 99
Ellor, J.
Diadem, 75
En Avant, Gr´enadiers, 58
En Revenant d’Auvergne, 30
Entendez-Vous Sur l’Ormeau, 30
Entre Vous Tous Gens de la Ville, 79
Erlaube Mir, Fein’s M¨ adchen, 99
Es kam ein treuer Bote, Nikolaus Beuttner, 36
Es Ritt ein Ritter, 104
Europe, James Reese
Goodnight Angeline, 102
Every Hour in the Day, 53, 109
Faded Coat of Blue, The, J.H. McNaughton, 96
Fairy Boat, The, Harold Samuel, 45
Fasolo, G.B.
Cangia, Cangia Tue Voglie, 67
Fearis, J.S.
Beautiful Isle of Somewhere, 70
Feinsliebchen, Du Sollst, 105, 109
finale, London symphony, Franz Joseph Haydn,
42, 109
Forget na’, dear Lassie, 53
Foster, Stephen
Hard Times Come Again No More, 29
Old Folks at Home, 65
Slumber My Darling, 85
Song of All Songs, The, 76
Froebel
Beckoning the Chickens, 32
Beckoning the Pigeons, 31
Pat-a-Cake, 28
Wolf, The, 56
Gar Lieblich Hat Sich Gesellet, 46
Gardez Piti Milatte-l` a, 37
Gavotte II from cello suite # 5, J.S. Bach, 56
Gi` a il Sole dal Gange, Alessandro Scarlatti, 63
Giordiano,, Attributed to Guiseppe
Caro Mio Ben, 86
Go Down, Moses, 61
Gold Band, The, 69
Goldfaden, Abraham
Raisins with Almonds, 91
Goodnight Angeline, James Reese Europe, 102
Graveyard, The, 102
Grieg
e, 4/4, 63
Gunhilde, 88
Guten Abend, 56
Gwine Follow, 81
Gypsy Warning, The, 42
Hallowed Spot, The, 72
Halt, Franz Schubert, 38
Handel, G.F.
chorus from Judas Maccabaeus, 100
Hush ye pretty warbling quire from Acis
and Galatea, 68
O Jordan, Sacred Tide from Esther, 60
Hanukah O Hanukah, 77
Hard Times Come Again No More, Stephen
Foster, 29
Harris, Charles K.
After the Ball, 85
Hawthorne, Alice
Home, By and By, 31
Out of Work, 98
Haydn, Franz Joseph
adagio poco cantabile from string quartet,
Op. 73, #3, 96
finale, London symphony, 42, 109
introduction, London symphony, 70
menuet Oxford symphony, 37, 107
Here We Go Round the Mulberry Bush (rhythm
only), , 16
Hess, C.
Little Charley Went a Fishing, 80
Holst, Gustav
Venus theme from The Planets, 38, 108
Home On the Range (rhythm only), , 15
Home, By and By, Alice Hawthorne, 31
Husband, John
Revive Us Again, 35
Hush Little Baby (rhythm only), , 14
122 Index
Hush ye pretty warbling quire from Acis and
Galatea, G.F. Handel, 68
I Ride an Old Paint, 68
I Want To Be Ready, 67
I’m In Trouble, 70
I’ve Been Working on the Railroad (rhythm
only), , 15
If with all your hearts ye truly seek me from
Elijah, Felix Mendelssohn, 82
If Ye Love Me, Thomas Tallis, 68
If Your Foot Is Pretty, Show It, 38
In My Merry Oldsmobile, Gus Edwards, 99
introduction, 1st symphony, Johannes Brahms,
71, 87
introduction, London symphony, Franz Joseph
Haydn, 70
Invention 2, J.S. Bach, 90
Jehovah, Hallelujah, 65
Jenny Lind Mania, The, W.H.C. West, 67
Jimmy Crack Corn (rhythm only), , 14
Jingle Bells (rhythm only), , 14
Joplin, Scott
Easy Winners, The, 99
The Entertainer (rhythm only), 16
Jungfr¨ aulein, Soll Ich Mit Euch Gehn, 43
Kathleen Aroon, Franz Abt, 86
Kevin Barry, 93
la Claire Fontaine, A, 27
Lang Johnny More, 66
Latham, W.H.
Broadway Sights, 27
Latour, Pierre
Beautiful Angel, The, 20
Lawlan’ Jenny, 29
Let God’s Saints Come In, 94
Lewis, L.R.
a, 3/4, 49
a, 4/4, 49, 50
B, 3/4, 20
B, 4/4, 20, 23
C, 4/4, 22
C, 6/8, 23
d, 3/2, 50
d, 3/4, 50
d, 4/4, 50
Little Brown Jug (rhythm only), , 13
Little Charley Went a Fishing, C. Hess, 80
Lolotte, 57
lullabye, 56, 109
Luther, Martin
Mighty Fortress Is Our God, A, 93
We Come Unto Our Father’s God, 29
M’ha Preso Alla Sua Ragna, Pier Domenico
Paradies, 73
march from The Nutcracker (rhythm only), P.I.
Tchaikovsky, 16
McNaughton, J.H.
Faded Coat of Blue, The, 96
Media Noche, 97
Mendelssohn, Felix
If with all your hearts ye truly seek me from
Elijah, 82
Menuet I from orchestral suite #1, J.S. Bach,
100
menuet II from cello suite # 2, J.S. Bach, 87
menuet Oxford symphony, Franz Joseph Haydn,
37, 107
Mi Sue˜ no, 59
Mighty Fortress Is Our God, A, Martin Luther,
93
Milhaud, Darius
Chant de Sion, 88
Mozart, W.A.
allegro from Eine kleine Nachtmusik, 34
andante un poco allegretto from string quar-
tet # 5, 90
aria (Papageno) from ‘The Magic Flute’,
35, 109
aria from the Magic Flute, 94
opening from clarinet quintet, 69
Osanna (bass solo, allegro) from Sanctus,
Requiem, 78
string quartet # 1, adagio, 36
string quartet # 1, menuet, 81, 96
string quartet # 1, trio, 86
string quartet # 10, menuet, 72
string quartet # 15, menuet, 57
string quartet # 2, andante, 71
string quartet # 4, opening, 84
string quartet # 4, presto, 75
string quartet # 6, rondo, 75
string quartet # 7, presto, 83
Index 123
string quartet # 8, menuet, 80, 83
theme from symphony in G minor, 54
Musieu Bainjo, 35
My Father, How Long?, 28
My Field, 55
Nachtwache 1, Johannes Brahms, 58
Not Yet, Richard Strauss, 43
O Come, All Ye Faithful (rhythm only), , 13
O Daniel, 90
O Jordan, Sacred Tide from Esther, G.F. Han-
del, 60
O Little Town of Bethlehem (rhythm only), ,
14
Ode to Joy, Beethoven, 19
Ojos Mexicanos, Los, 57
Old Folks at Home, Stephen Foster, 65
opening from clarinet quintet, W.A. Mozart, 69
opening movement from string quartet # 1, Beethoven,
86
opening theme of Symphony #3, Beethoven, 27
Ophelia’s Song, Maude Valerie White, 57
Osanna (bass solo, allegro) from Sanctus, Re-
quiem, W.A. Mozart, 78
Out of Work, Alice Hawthorne, 98
Paloma Blanca, La, 43, 108
Paradies, Pier Domenico
M’ha Preso Alla Sua Ragna, 73
Pat-a-Cake, Froebel, 28
Pergolesi, Giovanni Battista
aria from Stabat Mater, 87
Sancta Mater from Stabat Mater, 27, 109
tune from Stabat Mater, 69, 97
Poor Rosy, 32, 33
Pop Goes the Weasel (rhythm only), , 16
Praise, Member, 32, 41
Que No Te Amo, 78
Quinze Ans, A, 83
R´emon, 87
Ragion Sempre Addita, Alessandro Stradella,
95
Rain, Rain, Go Away (rhythm only), , 13
Raisins with Almonds, Abraham Goldfaden, 91
Rana, La, 84
Recouvrance, A, 27
Red River Valley, 70
Reir Es Necesario, 57, 82
Revive Us Again, John Husband, 35
Rimsky-Korsakov, Nikolai
Scheherezade, 86
Rockabye Baby (rhythm only), , 15
Roll, Jordan, Roll, 102
Root, George F.
Brother, Tell Me of the Battle, 95
Row, Burnie, Row, H. Burgess Weston, 30
Row, Row, Row Your Boat (rhythm only), , 16
Sagt Mir, O Sch¨ onste Sch¨ af’rin Mein, 88
Samuel, Harold
Fairy Boat, The, 45
Sancta Mater from Stabat Mater, Giovanni Bat-
tista Pergolesi, 27, 109
Scarlatti, Alessandro
Gi` a il Sole dal Gange, 63
Su, Venite a Consiglio, 27
Sch¨ onster Schatz, Mein Engel, 35
Scheherezade, Nikolai Rimsky-Korsakov, 86
Schubert, Franz
Am Feierabend, 58
Danksagung an den Bach, 63
Das Wandern, 44
Halt, 38
Wohin?, 37
Schwesterlein, 104
Serenata, 36, 38
Ship That Never Returned, The, 73
Shout On, Children, 37
Sing Hey to You, Good-Day to You, A.S. Sulli-
van, 85
Sinner Won’t Die No More, 68
Slumber My Darling, Stephen Foster, 85
Song of All Songs, The, Stephen Foster, 76
Stradella, Alessandro
Ragion Sempre Addita, 95
Strauss, Richard
Devotion, 67
Not Yet, 43
string quartet # 1, adagio, W.A. Mozart, 36
string quartet # 1, menuet, W.A. Mozart, 81,
96
string quartet # 1, trio, W.A. Mozart, 86
string quartet # 10, menuet, W.A. Mozart, 72
string quartet # 15, menuet, W.A. Mozart, 57
124 Index
string quartet # 2, andante, W.A. Mozart, 71
string quartet # 4, opening, W.A. Mozart, 84
string quartet # 4, presto, W.A. Mozart, 75
string quartet # 6, rondo, W.A. Mozart, 75
string quartet # 7, presto, W.A. Mozart, 83
string quartet # 8, menuet, W.A. Mozart, 80,
83
Su, Venite a Consiglio, Alessandro Scarlatti, 27
Sullivan, A.S.
E, 6/8, 27
Sing Hey to You, Good-Day to You, 85
Take a Pair of Sparkling Eyes, 85
Take a Pair of Sparkling Eyes, A.S. Sullivan, 85
Take Me Out to the Ball Game (rhythm only),
, 14
Tallis, Thomas
If Ye Love Me, 68
Tchaikovsky, P.I.
march from The Nutcracker (rhythm only),
16
trepak from The Nutcracker (rhythm only),
15
waltz of the flowers from The Nutcracker
(rhythm only), 15
The Entertainer (rhythm only), Scott Joplin,
16
The Itsy-Bitsy Spider (rhythm only), , 16
theme from symphony in G minor, W.A. Mozart,
54
This Old Man (rhythm only), , 14
Thou Poor Bird, 54
trepak from The Nutcracker (rhythm only), P.I.
Tchaikovsky, 15
trio from Brandenburg concerto # 1, J.S. Bach,
78
Tristes Horas, Las, 56
Tu Eres Mas Bella, 41
Twinkle Twinkle, Little Star (rhythm only), ,
13
Venus theme from The Planets, Gustav Holst,
38, 108
Vivo Llorando la Suerte, 78
Vivo Penando, 94
Wach’ Auf, Mein Hort, 42, 108
Walk, Shepherdess, Walk, 82
waltz of the flowers from The Nutcracker (rhythm
only), P.I. Tchaikovsky, 15
We Come Unto Our Father’s God, Martin Luther,
29
We Three Kings (rhythm only), , 14
We Wish You a Merry Christmas (rhythm only),
, 14
Wedge, G.A.
c, 2/4, 77
c, 3/4, 52, 56
f, 2/4, 53, 77
f, 3/4, 77
g, 2/4, 55
g, 3/4, 55, 56, 60
g, 4/8, 59
West, W.H.C.
Jenny Lind Mania, The, 67
Weston, H. Burgess
Row, Burnie, Row, 30
White, Maude Valerie
Ophelia’s Song, 57
Who Got Dirt on the Carpet Again?, B. Crow-
ell, 52, 93
Widdecombe Fair, 82
Wild Moor, The, 71
Wohin?, Franz Schubert, 37
Wolf, The, Froebel, 56
Wrighton, W.T.
Dearest Spot on Earth, The, 33
Ya Viene El Alba, 63
Index 125

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