152

Ear-Training and Sight-Singing

(4)

Play the

I-VM

chords in every major key, as outlined.

IV

(5) Melodies for Dictation

Parallel Construction, tion:

and Singing. 2nd stage, and Contrasting Construe-

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Period-Form

153

Dictate one phrase at a time as in the preceding lesson. it will be necessary to make a new outline for the consequent phrases. To outline the rhythm J. ^ tie the
(a)

In these melodies

two dots and place a check after 2nd dot.

phrase would be outlined as follows
:

In No.
'

1,

the
'

first
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Section C.
(1)

Rhythmic Study:
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(2) Exercises

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154

Ear-Training and Sight-Singing

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10

CHAPTER
A
Figure in music

XVIII

Figure or Motive. Exact Repetition and Sequence

is a group of notes arranged in a pattern, one A figure is used to express an idea measure generally long. from which is developed the complete thought, which makes a phrase. A figure makes a melody more comprehensive to the it permits of uniformity of design. in two ways: (1) In exact repetition when it used figure is repeated on the same pitches; (2) in exact sequence when it is repeated on different pitches, the interval relationship of the tones remaining unchanged. More than one, or at most two, repetitions are seldom used at a time. There may be two or three sequences.

listener,

because
is

LESSON 28
Section A.
Suggestions for Study:
(1) Construct six Periods, three parallel, three contrasting; each antecedent to have three consequent phrases. Develop each from a figure of one measure, used in exact sequence and repetition. Thus:
,
,

Figure

"Repetition 'Sequence' of Figure of Figure

New

figure

'Repetition 'Sequence of* of Figure 1st Figure

*m
Section B.
(1)

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NOTE. In contrasting construction a new figure must be used for the consequent phrase. It may be similar to the first figure. (See example.)

Play

F-G

<L

as an harmonic interval.

Name it.

i.

Notice that this interval needs something to make it complete, Intervals which need resolution are e., it needs resolution. Dissonant Intervals.

Play

it

again and note that the lower tone resolves down, while
is

the upper tone

held:

[155]

156

Ear-Training and Sight- Singing

Play

G-F

'

fa

as an harmonic interval.

Name
;

it.

Notice that this interval also needs resolution tone resolves down and the lower is held.

that the upper

As an harmonic
its

inversion

must be part
is

interval is part of a chord, the Minor 7th and of a seventh-chord. The most used

seventh-chord

the

V7

therefore the

Minor 7th

is

heard as 5 to 4

and the Major 2nd as 4 to

5, parts of that chord.

To
2nd

distinguish the

resolves,

2nd from the 7th; the lower tone and the upper tone of the 7th resolves.
(b)

of the

(a)

Play each of the intervals of

(a)

and sing 4-5 (Major

2nd).

(b)

Play the lower tone, sing the upper. Play the upper tone, sing the lower and resolve it to 3. Play each of the intervals of (b) and sing 5-4 (Minor

7th).

it is

Play the lower tone, sing the upper and resolve it to 3. Play the upper tone, sing the lower. (c) Play each of the intervals of (c) and determine whether a Major 2nd or Minor 7th, testing whether it is 4-5 or 5-4.
(2)

25, Section B, page 141, and

(3) Practise

ceding lessons.

123
Make
The two dissonant
<W
(0
(a)

exercises of absolute intervals as given in Lesson add the Major 2nd and Minor 7th.

the following intervals as outlined in the preintervals are used in section (b).
(b)
(c)

4
(a)

5
(b)
(c)

(a)

(b)

(4)

Continue chord-practice of preceding lesson.

Figure

Exact Repetition and Sequence

157

(5) Melodies for Dictation and Singing; Parallel construction, 3rd stage, and Contrasting construction, using melodic minor:

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(a) In analysis of melodies, note the use of a figure in reIn No. 1, measure 1, is a figure; measpetition and the sequence. ure 2 is a repetition of 1 measure 5 a repetition of 1 measure 6 a
; ,

sequence of 5. Analysis of the use of figures is an invaluable aid to memorizing. (b) After writing, mark figures, sequences and repetitions, as in example, Section A.

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