CH12 Mgas3 26405 155 170 LR

CHAPTER 12
Melody:
Phrases
Melodic TDT progressions
Authentic and half cadences
Rhythm:
More-advanced compound-meter rhythms with beat subdivisions
In this chapter youll learn to:
Improvise phrases in pairs

Perform and recognize melodic TDT progressions
Recognize authentic and half cadences in melodies
Perform compound meter rhythms with a variety of beat subdivisions
Improvisation 12.1: Melodies in Phrase Pairs

Improvise a melody that may be accompanied by the following progression. Sing the melody while accompanying yourself at the keyboard.
Direct the melody of each phrase toward the cadence, ideally descending
) at the first cadence (m. 4) and do ( 1) at the second cadence. For
to re (2
extra guidance, refer to the strategies presented in Improvisation 11.1.
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Duet
While one person plays an embellished version of the progression,
the partner improvises a melody by singing or playing an instrument.
Switch roles and perform again.
Rhythms with Subdivided
Beat Unit
543
544
545
546
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547
Duets
548
549
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Beat Unit
550
551
552
553
554
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555
556
Ensemble Rhythms
557
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558
559
160
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Beat Unit
560
561
562
563
564
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565
566
Ensemble Rhythms
567
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568
Harmonic Progressions
Sing these tudes to learn the common sound of progressions that start
in the tonic area, move to the dominant, then return to tonic (TDT).
Stems-down pitches represent the bass lines; listen especially to these
notes or have a partner sustain them while you sing the melody. Sing
the melodies in their parallel keys, too.
569IV6I
570IV 65 IV 65 I
571IV 43 I6 V 43 I
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572IV 42 I6V 42 I6 I
573IV7IV7I
Getting the most out of this tude
Play the bass line while singing the melody with solfge syllables
and scale-degree numbers.
Have a partner sing the bass line while you sing the treble part.
Realize the progression in block chords at the keyboard by holding
the three highest treble pitches while playing the bass line.
Play the four-part progression in block chords while singing the
melody as notated.
574
Authentic and Half Cadences

As you perform these melodies, listen carefully to the phrase endings
), or sol (5
),
and try to identify authentic cadences ending on do ( 1 ), mi (3
), sol (5
), or ti ( 7
).
and half cadences ending on re (2
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575 Jingle Bells (traditional)
576 Bach, No. 48, from St. John Passion
577 Caccini, Maria, dolce Maria (adapted)
578 Bruce Johnston, I Write the Songs
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579 Martini, Gavotte in F
580 Bach, Violin Concerto No. 1 in A Minor, first movement
581 Johnny Marks, Silver and Gold (adapted)
582 Mahler, Symphony No. 2, second movement
583 Hank Cochran, Make the World Go Away
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584 Dubinushka (Hammer Song) (traditional)
585 Schubert, Das Wandern (Wandering), from Die schne Mllerin
586 Mahler, Symphony No. 1, third movement
587 Bach, Burlesca, from Partita No. 3 in A Minor, BWV 827
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Ensemble Melodies
As you perform these ensemble melodies, listen carefully to the
soprano-bass phrase endings and try to identify cadences: perfect
authentic (PAC), imperfect authentic (IAC), or half (HC).
588 Byrd, The Carmans Whistle, My Lady Nevells Book
589 Foster, Better Times Are Coming

Play the piano part and sing the melody, or perform as a quintet.
168
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590 Haydn, String Quartet in D Major, Op. 50, No. 6, first movement
), the starting pitch.
Sing the tonic pitch, then find re (2
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591 Haydn, String Quartet in G Minor, Op. 20, No. 3, first movement
A passing V 43 is implied in measure 1, but because the viola doubles violin 1, the
1 ) line is not present.
dotido ( 1 7
592 Strozzi, Dessistete omni, pensiere, from Ariette a voce solo, Op. 6
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CHAPTER 12

More-advanced compound-meter rhythms with beat subdivisions

In this chapter youll learn to:

Improvise phrases in pairs

Improvisation 12.1: Melodies in Phrase Pairs

CH12_MGAS3_26405_155_170 page 155

2 June 2016 4:14 PM Second Pass

Rhythms with Subdivided

Part II Diatonic Harmony and Tonicization

CH12_MGAS3_26405_155_170 page 156

2 June 2016 4:14 PM Second Pass

CH12_MGAS3_26405_155_170 page 157

2 June 2016 4:14 PM Second Pass

Rhythms with Subdivided

Part II Diatonic Harmony and Tonicization

CH12_MGAS3_26405_155_170 page 158

2 June 2016 4:14 PM Second Pass

CH12_MGAS3_26405_155_170 page 159

2 June 2016 4:14 PM Second Pass

Part II Diatonic Harmony and Tonicization

CH12_MGAS3_26405_155_170 page 160

2 June 2016 4:14 PM Second Pass

Rhythms with Subdivided

CH12_MGAS3_26405_155_170 page 161

2 June 2016 4:14 PM Second Pass

Part II Diatonic Harmony and Tonicization

CH12_MGAS3_26405_155_170 page 162

2 June 2016 4:14 PM Second Pass

CH12_MGAS3_26405_155_170 page 163

2 June 2016 4:14 PM Second Pass

Getting the most out of this tude

Authentic and Half Cadences

Part II Diatonic Harmony and Tonicization

CH12_MGAS3_26405_155_170 page 164

2 June 2016 4:14 PM Second Pass

575 Jingle Bells (traditional)

576 Bach, No. 48, from St. John Passion

577 Caccini, Maria, dolce Maria (adapted)

578 Bruce Johnston, I Write the Songs

CH12_MGAS3_26405_155_170 page 165

2 June 2016 4:14 PM Second Pass

579 Martini, Gavotte in F

580 Bach, Violin Concerto No. 1 in A Minor, first movement

581 Johnny Marks, Silver and Gold (adapted)

582 Mahler, Symphony No. 2, second movement

583 Hank Cochran, Make the World Go Away

Part II Diatonic Harmony and Tonicization

CH12_MGAS3_26405_155_170 page 166

2 June 2016 4:14 PM Second Pass

584 Dubinushka (Hammer Song) (traditional)

585 Schubert, Das Wandern (Wandering), from Die schne Mllerin

586 Mahler, Symphony No. 1, third movement

587 Bach, Burlesca, from Partita No. 3 in A Minor, BWV 827

CH12_MGAS3_26405_155_170 page 167

2 June 2016 4:14 PM Second Pass

589 Foster, Better Times Are Coming

Part II Diatonic Harmony and Tonicization

CH12_MGAS3_26405_155_170 page 168