NAME __________________________________________
Preparatory Listening
Complete the Try It dictations to familiarize yourself with the following concepts and
skills:
Determining the solfge syllables or scale-degree numbers for the melody and bass of
two-voice tonicdominant frameworks
Converting solfge syllables or scale-degree numbers to pitches and notating them on
the staff
Try It
Listen to two-part dictations that are played once each. The key signature, meter signature,
and first bass pitch are given. Each example is preceded by two count-off measures to
set the tempo; a two-part excerpt beginning on the given pitches follows.
117
1.
2.
3.
4.
5.
6.
7.
118
NAME __________________________________________
Listen to two phrases of a clarinet solo from a twentieth-century ballet, and complete the
following exercises.
Listening Strategies
Listen for do ( 1 ) to occur in the bass of conclusive cadences. Often the last two bass
1 ), which supports the progression V(7)I. Any V(7)I cadence
pitches will be soldo (5
is an authentic cadence.
1 ) or tido ( 7
2
1 ).
In conclusive cadences, the melody often ends with miredo (3
When V(7)I authentic cadences end with do ( 1 ) in both the bass and soprano, the
cadence is a perfect authentic cadence (PAC). Listen to the example and focus just on
the melody.
)? If so, the chord is V7.
Does the V chord contain fa (4
3. At the first cadence (just before the return of the opening melodic idea), which triad
is arpeggiated? d
(c) 3
(d) 5
(a) 1 (b) 2
119
6. The implied cadences are best described by which of the following pairs? Listen
for the melodic pitch at each cadence. Conclusive cadences end on do ( 1 ), while
), ti ( 7
), or sol (5
). b
inconclusive cadences often end on re (2
First cadence
Second cadence
(a) inconclusive
inconclusive
(b) inconclusive
conclusive
(c) conclusive
conclusive
(d) conclusive
inconclusive
10. From the melodys lowest pitch to its highest, which best describes its range? d
) (b) ti to la ( 7
6
) (c) do to do ( 1 1 ) (d) sol to sol (5
5
)
(a) do to sol ( 1 5
120
(a) Notate the rhythm of the melody on the single-line staff beginning with a halfnote anacrusis. Choose a meter signature, and include bar lines. Beam notes to
show beat grouping.
(b) Below each rhythm staff, and under each note, write the solfge syllables or scale ).
degree numbers for the melody beginning on sol (5
(c) Combine your answers to complete the notation of the pitches and rhythm of the
melody beginning on D b4. Write the appropriate clef, key signature, and meter
signature.
NAME __________________________________________
Workspace
Notation:
12. You notated the melody in concert pitch. Now, transpose it up a M2 to create a
Bb clarinet part. Write the new key signature, and refer to the answers from previous
exercises to help you. If possible, perform the untransposed version on piano, along
with the transposed version on Bb clarinet.
121
NAME __________________________________________
Listen to a phrase from a work for piano, and complete the following exercises. Concentrate
on the bass line and general musical features initially, then on the melody.
1. Which of these represents the meter of this excerpt? d
(d) major
(c) 3
(d) 5
(e) 6
(a) 1 (b) 2
5. All of the skips in the melody are of which generic interval type? b
122
(a) Notate the rhythm of the melody and bass line on the single-line staves in common
time. The shortest note value you will hear is the sixteenth note. Include bar lines
and beam notes to show beat grouping. The first measure is provided for you.
(b) Below each rhythm staff, and under each note, write the solfge syllables or scaledegree numbers for both parts. The first measure is provided for you.
(c) Combine your answers to complete the notation of the pitches and rhythm of
both parts. The first measure is provided for you.
NAME __________________________________________
Workspace
123
NAME __________________________________________
Listen to an excerpt from an art song, and complete the following exercises.
1. Which of these represents the meter of this excerpt? d
(a) anacrusis
(b) syncopation
(c) triplets in the accompaniment (d) augmentation of the vocal melody in the bass
(a) minor triad (b) major triad (c) mm7 (d) MM7 (e) Mm7
5. From the vocal melodys lowest pitch to its highest, which best describes its range? b
) (b) ti to sol ( 7
5
) (c) do to do ( 1 1 ) (d) sol to sol (5
5
)
(a) do to sol ( 1 5
(a) Notate the rhythm of the vocal melody and bass line in common time on the
single-line staves. The first downbeat occurs when the piano accompaniment
begins. Include bar lines (including one to show the anacrusis), and beam notes
to show beat grouping.
(b) Below each rhythm staff, and under each note, write the solfge syllables or scale ) and the
degree numbers for the melody and bass line. Begin the melody on mi (3
bass line on do ( 1 ).
(c) Combine your answers to complete the notation of the pitches and rhythm of
the vocal melody (top treble-clef staff ) and bass line (bass-clef staff ) beginning
on C5 and A b2 respectively. Write the appropriate clefs, key signature, and meter
signature. Beam notes to show beat grouping.
(d) Beneath each bass pitch, write the quality and inversion of the chord in the
accompaniment; for example, Mm7 first, M root, and so on.
(e) Write the pitches and rhythm of the accompaniment on the middle staff.
124
NAME __________________________________________
Workspace
8. On your own staff paper, arrange this excerpt for saxophone quartet. Write the
appropriate clefs, key signatures, and meter signature. Keep the same concert key
and pitches, but transpose the soprano saxophone part up a M2, the alto saxophone
part up a M6, the tenor saxophone part up a M2 plus one octave, and the baritone
saxophone part up a M6 plus one octave. Refer to your previous answers for help.
Chapter 12 The Basic Phrase in SATB Style
125
NAME __________________________________________
Listen to an excerpt from a piece for string orchestra and continuo, and complete the
following exercises.
1. Which of these represents the meter of this excerpt? b
(c) 3
(d) 5
(e) 6
(a) 1 (b) 2
(c) 3
(d) 5
(e) 6
(a) 1 (b) 2
126
(a) Notate the rhythm of the melody and bass line in common time on the single-line
staves. Omit any ornaments. Include bar lines, and beam notes to show beat grouping.
(b) Below each rhythm staff, and under each note, write the solfge syllables or scaledegree numbers for the melody and bass line. Omit any ornaments
(c) Combine your answers to complete the notation of the pitches and rhythm of the
melody and bass line beginning on F5 and F3 respectively. Write the appropriate clefs,
key signature, and meter signature, and vertically align pitches that sound together.
NAME __________________________________________
Workspace
127