| FORMATTED CONTENTS NOTE |
UNIT ONE A<br/><br/>Rhythm—Simple Meter: One-, Two-, Three-, and Four-Beat Values and Duple Division of the Beat 1 SECTION 1. Modules in Simple Meter 1 SECTION 2. Phrases in Simple Meter 3 SECTION 3. Creating a Coherent Phrase in Simple Meter<br/><br/>B<br/><br/>Diatonic Models and Melodic Fragments: M2 and m2 SECTION SECTION SECTION SECTION<br/><br/>C D<br/><br/>4<br/><br/>1. 2. 3. 4.<br/><br/>4<br/><br/>Diatonic Models 4 Melodic Fragments in F Major 6 Creating a Coherent Melody 7 Improvisation 7<br/><br/>Melodies by Bruce Benward (Major): M2 and m2 Melodies 11<br/><br/>8<br/><br/>SECTION 1. Melodies by Bruce Benward (Major): P5, P4, M3, and m3 within the<br/><br/>Tonic Triad and M2 and m2<br/><br/>11<br/><br/>SECTION 2. Russian Folksongs: P5, P4, M3, m3, M2, and m2 within the Diatonic Scale<br/><br/>E<br/><br/>Ensembles and Play + Sing<br/><br/>12<br/><br/>15<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 16 SECTION 3. Play + Sing 17<br/><br/>15<br/><br/>U N I T T WO A<br/><br/>Rhythm—Compound Meter<br/><br/>18<br/><br/>SECTION 1. Modules in Compound Meter 18 SECTION 2. Phrases in Compound Meter 19 SECTION 3. Creating a Coherent Phrase in Compound Meter<br/><br/>B<br/><br/>Diatonic Models and Melodic Fragments: P5, P4, M3, m3, M2, and m2 SECTION SECTION SECTION SECTION<br/><br/>C<br/><br/>21<br/><br/>1. 2. 3. 4.<br/><br/>Diatonic Models 22 Melodic Fragments in G Major and G Minor Creating a Coherent Melody 24 Improvisation 24<br/><br/>22<br/><br/>23<br/><br/>Melodies (Major): P5, P4, M3, and m3 within the Tonic Triad and M2, and m2<br/><br/>25<br/><br/>iii<br/><br/>D<br/><br/>Melodies (Major): P5, P4, M3, m3, M2, and m2 within the Diatonic Scale SECTION 1. Excerpts from Beethoven and Haydn SECTION 2. Scottish Tunes 29<br/><br/>E<br/><br/>Ensembles and Play + Sing<br/><br/>26<br/><br/>26<br/><br/>33<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 35 SECTION 3. Play + Sing 36<br/><br/>33<br/><br/>UNIT THREE A<br/><br/>Rhythm—Simple Meter: Further Duple Division of the Beat<br/><br/>37<br/><br/>SECTION 1. Modules in Simple Meter 37 SECTION 2. Phrases in Simple Meter with Duple Division of the Beat SECTION 3. Creating a Coherent Phrase in Simple Meter 39<br/><br/>B<br/><br/>Diatonic Models and Melodic Fragments: P8, P5, P4, M3, m3, M2, and m2 SECTION SECTION SECTION SECTION<br/><br/>C<br/><br/>1. 2. 3. 4.<br/><br/>Diatonic Models 39 Melodic Fragments in D Major and D Minor Creating a Coherent Melody 42 Improvisation 42<br/><br/>Melodies (Minor): Mostly by Bruce Benward SECTION SECTION SECTION SECTION<br/><br/>E<br/><br/>1. 2. 3. 4.<br/><br/>44<br/><br/>46<br/><br/>P5, P4, M3, and m3 within the Tonic Triad 46 Natural, Harmonic, and Melodic Minor 46 P5, P4, M3, and m3 within the Tonic Triad and M2 and m2 Transposition and Inversion 48<br/><br/>Ensembles and Play + Sing<br/><br/>47<br/><br/>50<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 50 SECTION 3. Play + Sing 51<br/><br/>50<br/><br/>UNIT FOUR A<br/><br/>Rhythm—Simple Meter: Quadruple Subdivision of the Beat SECTION 1. Modules in Simple Meter 53 SECTION 2. Phrases in Simple Meter 54 SECTION 3. Creating a Coherent Phrase in Simple Meter<br/><br/>B<br/><br/>C<br/><br/>53<br/><br/>56<br/><br/>Diatonic Models and Melodic Fragments: m10, P8, P5, P4, M3, m3, M2, and m2 57 SECTION SECTION SECTION SECTION<br/><br/>1. 2. 3. 4.<br/><br/>Diatonic Models 57 Melodic Fragments in A Major and A Minor Creating a Coherent Melody 59 Improvisation 59<br/><br/>58<br/><br/>Melodies (Major and Minor): P5, P4, M3, m3, M2, and m2<br/><br/>60<br/><br/>SECTION 1. Jamaican Songs, a Ceremonial Dance and a Stravinsky Source SECTION 2. Hebrew Songs 62<br/><br/>iv<br/><br/>Contents<br/><br/>39<br/><br/>40<br/><br/>Melodies (Major): P5, P4, M3, m3, M2, and m2 within the Diatonic Scale SECTION 1. Melodies by Bruce Benward 43 SECTION 2. Melodies from Folk Sources and Stravinsky<br/><br/>D<br/><br/>38<br/><br/>61<br/><br/>43<br/><br/>D<br/><br/>Melodies (Major and Minor): P5, P4, M3, m3, M2, and m2 SECTION 1. Songs by Schubert 64 SECTION 2. Exercises in Clef Reading and Transposition<br/><br/>E<br/><br/>Ensembles and Play + Sing<br/><br/>64<br/><br/>67<br/><br/>68<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 70 SECTION 3. Play + Sing 73<br/><br/>68<br/><br/>UNIT FIVE A<br/><br/>Rhythm—Simple Meter with Triplets<br/><br/>75<br/><br/>SECTION 1. Modules in Simple Meter 75 SECTION 2. Phrases in Simple Meter with Irregular Division of the Beat (the Triplet) SECTION 3. Creating a Coherent Phrase in Simple Meter with Triplets 77<br/><br/>B<br/><br/>Diatonic Models and Melodic Fragments: M6 and m6 SECTION SECTION SECTION SECTION<br/><br/>C D E<br/><br/>1. 2. 3. 4.<br/><br/>Diatonic Models 78 Melodic Fragments in F Major and D Minor Creating a Coherent Melody 81 Improvisation 81<br/><br/>Melodies (Major and Minor): M6 and m6 Melodies (Major and Minor): M6 and m6 Ensembles and Play + Sing 88<br/><br/>76<br/><br/>78 79<br/><br/>82 84<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 91 SECTION 3. Play + Sing 93<br/><br/>88<br/><br/>UNIT SIX A<br/><br/>Rhythm—Simple Meter: Further Subdivision of the Beat in Simple Meter SECTION 1. Modules in Simple Meter 96 SECTION 2. Phrases in Simple Meter 97 SECTION 3. Creating a Coherent Phrase in Simple Meter<br/><br/>B<br/><br/>Diatonic Models and Melodic Fragments: M6 and m6 SECTION SECTION SECTION SECTION<br/><br/>C D<br/><br/>1. 2. 3. 4.<br/><br/>Diatonic Models 100 Melodic Fragments in B Major and B Minor Creating a Coherent Melody 102 Improvisation 102<br/><br/>Melodies (Major and Minor): M6 and m6 Melodies (Major and Minor): M6 and m6<br/><br/>96<br/><br/>99<br/><br/>100 101<br/><br/>103 106<br/><br/>SECTION 1. Robert Schumann 106 SECTION 2. From Bach to Barber 108<br/><br/>E<br/><br/>Ensembles and Play + Sing<br/><br/>110<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 113 SECTION 3. Play + Sing 115<br/><br/>110<br/><br/>Contents<br/><br/>v<br/><br/>UNIT SEVEN A<br/><br/>Rhythm—Hemiola<br/><br/>117<br/><br/>SECTION 1. Modules Using Hemiola 117 SECTION 2. Phrases in Simple Meter Using Hemiola 118 SECTION 3. Creating a Coherent Phrase in Simple Meter 119<br/><br/>B<br/><br/>Diatonic Models and Melodic Fragments: m7 SECTION SECTION SECTION SECTION<br/><br/>C<br/><br/>1. 2. 3. 4.<br/><br/>119<br/><br/>Diatonic Models 119 Melodic Fragments in E Major 120 Creating a Coherent Melody 121 Improvisation 121<br/><br/>Melodies (Major and Minor): M6 and m6<br/><br/>122<br/><br/>SECTION 1. Melodies from Songs and Instrumental Works by Beethoven SECTION 2. Short Melodies by Bruce Benward 124<br/><br/>D E<br/><br/>Melodies (Major and Minor): M6 and m6 Ensembles and Play + Sing 127<br/><br/>122<br/><br/>125<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 129 SECTION 3. Play + Sing 130<br/><br/>127<br/><br/>UNIT EIGHT A<br/><br/>Rhythm—Simple Meter: The Supertriplet<br/><br/>132<br/><br/>SECTION 1. Modules in Simple Meter 132 SECTION 2. Phrases in Simple Meter with Supertriplets 133 SECTION 3. Creating a Coherent Phrase in Simple Meter with Supertriplets<br/><br/>B<br/><br/>Diatonic Models and Melodic Fragments: m7 and M7 SECTION SECTION SECTION SECTION<br/><br/>C<br/><br/>1. 2. 3. 4.<br/><br/>Diatonic Models 135 Melodic Fragments in C Minor and E Major Creating a Coherent Melody 138 Improvisation 138<br/><br/>Melodies (Major and Minor): m7<br/><br/>135 136<br/><br/>139<br/><br/>SECTION 1. Melodies from Operas by Verdi, Puccini, Handel, and Pergolesi SECTION 2. Excerpts from Cantatas Written by J. S. Bach 141<br/><br/>D<br/><br/>Melodies (Major and Minor): m7<br/><br/>142<br/><br/>SECTION 1. Folk Songs and Instrumental Works<br/><br/>E<br/><br/>Ensembles and Play + Sing<br/><br/>142<br/><br/>145<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 147 SECTION 3. Play + Sing 148<br/><br/>145<br/><br/>UNIT NINE A<br/><br/>Rhythm—Further Subdivisions of the Beat in Compound Meter and 3 against 2 151 SECTION 1. Modules in Compound Meter 151 SECTION 2. Phrases with Triplets and 3 against 2 152 SECTION 3. Creating a Coherent Phrase in Compound Meter<br/><br/>vi<br/><br/>Contents<br/><br/>134<br/><br/>153<br/><br/>139<br/><br/>B<br/><br/>Diatonic Models and Melodic Fragments: A4 and d5 SECTION SECTION SECTION SECTION<br/><br/>C D<br/><br/>1. 2. 3. 4.<br/><br/>155<br/><br/>Melodies (Major): Chromatic Alterations, Modulating, and Nonmodulating Melodies (Major): Chromatic Alterations, Modulating, and Nonmodulating SECTION 1. Mozart Songs 160 SECTION 2. Melodies from Operas by Rameau<br/><br/>E<br/><br/>154<br/><br/>Diatonic Models 154 Melodic Fragments in E Major and E Minor Creating a Coherent Melody 157 Improvisation 157<br/><br/>Ensembles and Play + Sing<br/><br/>159 160<br/><br/>164<br/><br/>168<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 170 SECTION 3. Play + Sing 172<br/><br/>168<br/><br/>UNIT TEN A<br/><br/>Rhythm—Changing Meter with Triplets and Aligned and Displaced Hemiolas<br/><br/>175<br/><br/>SECTION 1. Modules 175 SECTION 2. Phrases Using Aligned and Displaced Hemiolas 176 SECTION 3. Creating a Coherent Phrase in Simple Meter 177<br/><br/>B<br/><br/>Diatonic and Chromatic Models and Melodic Fragments: A4 and d5 SECTION SECTION SECTION SECTION<br/><br/>C D E<br/><br/>1. 2. 3. 4.<br/><br/>Diatonic and Chromatic Models 177 Melodic Fragments in E Major and E Minor Creating a Coherent Melody 180 Improvisation 180<br/><br/>Melodies with Chromatic Alterations Melodies with Chromatic Alterations Ensembles and Play + Sing 188<br/><br/>177<br/><br/>179<br/><br/>182 185<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 190 SECTION 3. Play + Sing 190<br/><br/>188<br/><br/>UNIT ELEVEN A<br/><br/>Rhythm—Subdivisions of the Beat into Eight Parts SECTION 1. Modules 192 SECTION 2. Phrases 193 SECTION 3. Creating a Coherent Phrase<br/><br/>B<br/><br/>194<br/><br/>Diatonic and Chromatic Models and Melodic Fragments: d7 and A2 SECTION SECTION SECTION SECTION<br/><br/>C D<br/><br/>192<br/><br/>1. 2. 3. 4.<br/><br/>Melodies with Modal Characteristics More Melodies 204<br/><br/>200<br/><br/>SECTION 1. Sacred Melodies with Modal Characteristics SECTION 2. Songs by Brahms 207<br/><br/>E<br/><br/>195<br/><br/>Diatonic and Chromatic Models 195 Melodic Fragments in C Minor 196 Creating a Coherent Melody 199 Improvisation 199<br/><br/>Ensembles and Play + Sing<br/><br/>204<br/><br/>209<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 214 SECTION 3. Play + Sing 215<br/><br/>209<br/><br/>Contents<br/><br/>vii<br/><br/>U N I T T W E LV E A<br/><br/>Rhythm—The Quartolet<br/><br/>217<br/><br/>SECTION 1. Modules 217 SECTION 2. Phrases 218 SECTION 3. Creating a Coherent Phrase<br/><br/>B<br/><br/>Chromatic Models and Melodic Fragments: A6 and d3 SECTION SECTION SECTION SECTION<br/><br/>C D<br/><br/>219<br/><br/>1. 2. 3. 4.<br/><br/>Chromatic Models 220 Melodic Fragments in C Minor and C Major Creating a Coherent Melody 224 Improvisation 224<br/><br/>Melodies with Modal Characteristics Melodies 231 Ensembles and Play + Sing<br/><br/>220<br/><br/>225<br/><br/>SECTION 1. Melodies by Schubert 231 SECTION 2. Clef Reading and Transposition<br/><br/>E<br/><br/>220<br/><br/>234<br/><br/>237<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 243 SECTION 3. Play + Sing 244<br/><br/>237<br/><br/>UNIT THIRTEEN A<br/><br/>Rhythm— Further Subdivisions of the Beat: 4 against 3 SECTION 1. Models 245 SECTION 2. Duets 246 SECTION 3. Creating a Coherent Duet in 4 against 3<br/><br/>B<br/><br/>247<br/><br/>Diatonic and Chromatic Models and Melodic Fragments: d4 SECTION SECTION SECTION SECTION<br/><br/>C<br/><br/>245<br/><br/>1. 2. 3. 4.<br/><br/>Diatonic and Chromatic Models 248 Melodic Fragments in A Major and F Minor Creating a Coherent Melody 250 Improvisation 251<br/><br/>Melodies Related to Jazz<br/><br/>248<br/><br/>249<br/><br/>251<br/><br/>SECTION 1. The Blues Repertoire 251 SECTION 2. Vocalise by Alex Wilder 254<br/><br/>D E<br/><br/>Melodies by Duke Ellington Ensembles and Play + Sing<br/><br/>255 258<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 260 SECTION 3. Play + Sing 262<br/><br/>258<br/><br/>UNIT FOURTEEN A<br/><br/>Rhythm—Irregular or Additive Meter<br/><br/>265<br/><br/>SECTION 1. Phrases in Irregular or Additive Meter 265 SECTION 2. Duets in Irregular or Additive Meter 266 SECTION 3. Creating a Coherent Phrase in Irregular or Additive Meter<br/><br/>B<br/><br/>Modal Mixture and Enharmonic Modulation Models and Melodic Fragments SECTION SECTION SECTION SECTION<br/><br/>viii<br/><br/>267<br/><br/>Contents<br/><br/>1. 2. 3. 4.<br/><br/>Diatonic and Chromatic Models 267 Melodic Fragments: All Intervals 269 Creating a Coherent Melody 271 Improvisation 271<br/><br/>267<br/><br/>C D<br/><br/>Twentieth-Century Cabaret Song by Arnold Schoenberg Twentieth-Century Songs 275<br/><br/>273<br/><br/>SECTION 1. Art Songs by Ravel and Holst 275 SECTION 2. Melodies by Stravinsky, Rossini, Tchaikovsky, and Folk Song<br/><br/>E<br/><br/>Ensembles and Play + Sing<br/><br/>278<br/><br/>281<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 283 SECTION 3. Play + Sing 284<br/><br/>281<br/><br/>UNIT FIFTEEN A<br/><br/>Rhythm—Changing Meter with Constant Pulse<br/><br/>287<br/><br/>SECTION 1. Phrases in Changing Meter 287 SECTION 2. Ensembles in Changing Meters 289 SECTION 3. Creating a Coherent Phrase in Changing Meter<br/><br/>B<br/><br/>Whole-tone, Octatonic, and Atonal Models and Melodic Fragments: All Intervals 290 SECTION SECTION SECTION SECTION<br/><br/>C D E<br/><br/>290<br/><br/>1. 2. 3. 4.<br/><br/>Atonal Models 290 Melodic Fragments: All Intervals 293 Creating a Coherent Melody 295 Improvisation 295<br/><br/>Twentieth-Century Melodies 296 ° Vocalises by Honegger and Martinu Ensembles of the Twentieth Century<br/><br/>302 303<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 310 SECTION 3. Play + Sing 312<br/><br/>303<br/><br/>UNIT SIXTEEN A<br/><br/>Rhythm—Polymeter<br/><br/>314<br/><br/>SECTION 1. Ensembles in Polymeter<br/><br/>B<br/><br/>314<br/><br/>Twelve-Tone Models and Melodic Fragments for Interval Study SECTION SECTION SECTION SECTION<br/><br/>1. 2. 3. 4.<br/><br/>315<br/><br/>Models: Dyads, Trichords, Tetrachords, Pentachords, and Hexachords Melodic Fragments: 12-Tone Series 317 Creating a Coherent Melody 318 Improvisation 319<br/><br/>C and D Twentieth-Century Melodies 319 E Ensembles of the Twentieth Century<br/><br/>322<br/><br/>SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 328 SECTION 3. Play + Sing 330<br/>Composer and Genre Index<br/> |