Berklee College of Music Curriculum Workbook Series

EAR TRAINING 4 WORKBOOK

2nd Edition

Scott deOgburn Tony Germain Mitch Haupers

Steve Prosser Roberta Radley Dave Vose

© 2007 Berklee College of Music

The authors wish to thank and acknowledge the members of the Ear Training 4 Workbook
Revisions Committee for their dedicated commitment and contributions to this second edition:
Corinne Chase, Rick DiMuzio, John Funkhouser, Robin Ginenthal, Kaye Kelly Hardt, Brian
Lewis, Yumiko Matsuoka, Phil Person, Jane Potter.
Contents
Chapter 1 Chapter 5

85 and 78 meters
1.1 Rhythm . . . . . . . . . . . . . . . . . . . . . . . . . .1 5.1 Rhythm . . . . . . . . . . . . . . . . . . . . . . . . .69
Conducting; performance; review of
16th note patterns; double dotted quarter
5.2 Melody . . . . . . . . . . . . . . . . . . . . . . . . .75
notes; four over three note grouping
“Di” and “Ra”
1.2 Melody . . . . . . . . . . . . . . . . . . . . . . . . . .9
#
5.3 Harmony . . . . . . . . . . . . . . . . . . . . . . .82
Practice method for sightsinging;
V7/II; tension 9
introduction to chromaticism;
“Fi” and “Se”
Chapter 6
1.3 Harmony . . . . . . . . . . . . . . . . . . . . . . .19
6.1 Rhythm . . . . . . . . . . . . . . . . . . . . . . . . .84
V7/V; tension 9
Changing time signatures with
constant eighth note
Chapter 2
6.2 Melody . . . . . . . . . . . . . . . . . . . . . . . . .89

23 and 46 meters
2.1 Rhythm . . . . . . . . . . . . . . . . . . . . . . . . .23
Modulation: parallel major and minor
keys; keys related at 4th, 5th, and 2nd
2.2 Melody . . . . . . . . . . . . . . . . . . . . . . . . .31 intervals
“Li” and “Te”
#
6.3 Harmony . . . . . . . . . . . . . . . . . . . . . . .94
2.3 Harmony . . . . . . . . . . . . . . . . . . . . . . .37 SubV7/I; tension 11
V7/IV; tension 13
Chapter 7
Chapter 3
7.1 Rhythm . . . . . . . . . . . . . . . . . . . . . . . . .96

45 and 47 meters
3.1 Rhythm . . . . . . . . . . . . . . . . . . . . . . . . .39 Metric Modulation

7.2 Melody . . . . . . . . . . . . . . . . . . . . . . . .101

3.2 Melody . . . . . . . . . . . . . . . . . . . . . . . . .46 Modulation: relative major and minor
“Si” and “Le” keys; keys related at 3rd intervals

b b
3.3 Harmony . . . . . . . . . . . . . . . . . . . . . . .53 7.3 Harmony . . . . . . . . . . . . . . . . . . . . . .106
V7/VI; tension 9 V7/I– altered; chord tone 5

Chapter 4 Chapter 8

4.1 Rhythm . . . . . . . . . . . . . . . . . . . . . . . . .55 8.1 Rhythm . . . . . . . . . . . . . . . . . . . . . . . .108

Changing time signatures with 32nd notes; divided quarter note triplet;
constant quarter note artificial groupings: quintuplets and
septuplets
4.2 Melody . . . . . . . . . . . . . . . . . . . . . . . . .61
“Ri” and “Me” 8.2 Melody . . . . . . . . . . . . . . . . . . . . . . . .114
Review
b
4.3 Harmony . . . . . . . . . . . . . . . . . . . . . . .67
V7/III; tension 13 8.3 Harmony . . . . . . . . . . . . . . . . . . . . . .120
Review
 Ear Training 4 Workbook Chapter 1

1.1 Rhythm

Conducting
Conducting is a method of timekeeping commonly used in ear training.
Conducting patterns consist of distinct points in which beats are placed. In
this way, there is only one point within the pattern that shows beat one, thus,
One way to
practice the con- aiding the student in the development of a sense of “place” within the meas-
ducting patterns ure. Once these patterns are learned and practiced, the student can rely
is along with a upon them to maintain flow as changing rhythms and meters become more
recording or
metronome.
complex in their study.

Basic Patterns
2 6
The conducting patterns used in ear training are designed to be simple, effective and inter-
changeable. For example, the pattern used for 4 can also be used for 8 ; conducting in 4 can
4
12
be used in 8 , etc. As well, we have developed simplified patterns for 45, 46, and 74,that are all
4
based upon the 4 pattern. These patterns function regardless of stress divisions within the
5 7
measure (i.e., a bar of 4 divided into 3+2 or a bar of 4 divided into 2+3+2). Most importantly,
the student can focus on rhythm and meter rather than the plethora of conducting options that
exist in varying schools of thought. (Note: Students will be introduced to appropriate conduct-
ing methods and pedagogy in the required conducting courses later in the curriculum.)

Conducting is to be performed with the right hand. When practicing conducting patterns, try to
maintain a sense of flow. Do not stop on the beats. Instead, bounce the hand off of each beat,
while moving toward the next beat with a sense of steady motion. Avoid angular movements,
as these will create a duple feel. Although good for straight eighth-note subdivision, this can
make learning odd divisions of the beat (triplet, quintuplet, and septuplet) difficult in later prac-
tice. Once you’ve mastered the shape and flow of each pattern try to keep its size relatively
small and off to the right side — outside of the direct visual sight line for reading, yet within a
comfortable peripheral visual zone.

The conducting patterns shown on the following pages will be used throughout the entire train-
ing process (levels 1–4). It is important that you take the time to familiarize yourself with the
patterns and practice them separately until you can perform them accurately without thinking
about them. Make certain that your pattern shows the beat and does not stop motion any-
where — in other words, keep the flow between the beats.

ET4 Chapter 1 – 1
1.1 Rhythm

Let’s start with a simple two-beat pattern (ex. 1). The example on the left
(1a) shows the conducting pattern in two, whereas the example on the right
(1b) is a more realistic and flowing version likely to occur in practice. Make
Practice the con- certain that in both patterns the beats are placed accurately within the flow
ducting patterns of the pattern.
while listening
+

24
to various CDs +
from your per-
sonal library.
Soon the pat- ex. 1a ex. 1b
2
terns will
imaginary plane
become second 1
nature.
pattern in two looks like this in practice

When practicing, try to place the beats consistently each time throughout the pattern. In all
3
patterns, there is an imaginary plane where all beats except the last are placed. Notice the
common plane for the placement of beats 1 and 2 in the 4 pattern (ex. 2). While beat 3 is
placed higher than the common plane for beats 1 and 2, it falls on the same descending line
of beat 1. Also note that the downbeats (1, 2 and 3) are all arrived at in a downward motion
while the upbeats (+) are all passed in an upward motion.

ex. 2a
34 +
ex. 2b
+

+
+
+ 3 +
3
imaginary plane
1 2 1 2
pattern in three looks like this in practice

4
The pattern for 4 is similar to the three-pattern except that beat 2 is placed to the left of beat 1
4
(ex. 3). Now, beats 1, 2 and 3 are on the imaginary plane and beat 4 is higher than beat 1 but
on the same descending line. The 4 meter is perhaps the most popular time signature and
therefore is also notated as “common time” ( ). c

44 or c
+

+ +
ex. 3a + ex. 3b
+ +
+ 4
4

imaginary plane
2 1 3 2 1 3
pattern in four looks like this in practice

2 – ET4 Chapter 1
 Performance
It is imperative for the beginning student to learn, feel and internalize steady
pulse and subdivision as a means to improving sight-reading skills and
If feeling subdi- expanding one’s rhythmic vocabulary. There are a number of practice/per-
vision internally formance methods to help develop this skill. Yet, they all have the same
is difficult, try objective in mind: the externalization of pulse and subdivision as a means of
tapping the sub-
feeling rhythm. We call this “laying down the grid.”
divisions lightly
on your chest
with the left
hand while you 4
The grid is determined by the pulse and its most prevalent subdivision. For
example, in 4 time, where the eighth note is present but not sixteenth notes,
are conducting.
students need to keep the quarter note constant and feel the beats divided in
two as eighth notes. Whenever more than one subdivision is present, (i.e.,
eighths and sixteenths together) students should perform the exercise two
ways — feeling both eighth and sixteenth notes against the pulse.

Accurately interpreting rhythm notation requires a combination of coordination, pattern recog-

nition and sense of flow. Since we can break rhythm down into three “events” (attack-duration-
release) that occur in time flow, our practice methods should help us to develop an awareness
of these concepts and fluency with their execution. The following practice method, called “tah
and conduct,” is the most widely used and has proven quite effective for rhythmic develop-
ment. Other useful practice methods are described in this chapter on page 9.

Performance Method — Tah (or Dah) and Conduct

This practice technique relies on the conducting patterns in the right hand for timekeeping.
The subdivision is internalized and the rhythm itself is performed vocally by saying “tah” (or
“dah”) in the appropriate places. The “t” in tah (or “d” in dah) is the attack and the “ah” is used
for duration and release. (Note: For simplicity, this technique will be referred to as “tah and
conduct” in the future, even though “dah” is an option.) Try to release as accurately as you
attack. Precision at an early stage of learning develops a keen sense for reading, performing
and transcribing rhythms in the future.

One common problem is running out of breath when “singing” the rhythms. Make sure you are
inhaling in a “musical” place within the exercise (e.g., in between phrases or measures; not in
the midst of a rhythmic duration). You may even want to mark the places where you discover
breathing does not disrupt your rhythmic flow during your practice sessions. The common
symbol for a “breath mark” is an apostrophe (‘) above the staff.

Practice hints: If you notice yourself dropping or adding beats in a measure, check your con-
ducting pattern and make certain you are not changing it. If that checks out, perhaps you are
ignoring rests and “skipping ahead” to the next note. Feel the rests and their subdivision as
they pass by in the flow of time. Perform the rests!

ET4 Chapter 1 – 3
1.1 Rhythm

Rhythmic Exercises
Chapter one is a review of sixteenth note subdivision and introduces double
dotted quarter notes. We will also study the four over three note grouping.
When reading The spacing of notes should be uniform when performing the four grouped
music that has a quarter notes.
16th note groove,
try to see all the
notes within each
beat as a “one
beat unit.”

. . >j . . . . . >j
1. ÷ c œ œ œ œ ≈ œ . ≈ œ œ œ œ œ œ œ œ œ œ ≈ œ œ Œ œ œ œ ≈ œ .Œ œ. œ œ. œ œ œ œ œ œ
F
- - . . >j j - . >j . -. . j j
÷ œ œ œ œ ≈œ . ‰ œ œ œ ≈ œ . œ. œ œ œ Œ œ œ œ ≈œ . ‰ œ œ œ œ œ œ œ
3

p F

> > ^
÷ 44 Û . Û Û Û Û Û. ‰ Û Û Û Û Û ‰ Û Û Û Œ ÛÛÛ ÛÛÛ ≈Û ÛÛ ÛÛ
3 3
2.

p
^
÷ Û Û. Û Û. Û Û. ≈ Û Û. Û Û. Û Û Û Û Û Û Û ≈ Û Û Û Û Û Û. Û. Û- Û. ‰ Û Û Û Û
3

÷ c œ œ. œ œ Œ œ .. œ œ Œ œ œ œ œ œ œ œ œ . œ œ œ .. œ œ Œ
R R
3.

÷ œ œ. œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ Œ
3

R R

÷ 44 œ .. œœœœœœ œ .. œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ .. ˙
3

R R R R
4.

÷ ≈ œ œ œ œ œ . œ œ œ œ œ ‰ œ œ œ .. œ œ œ œ œ œ œ œ œ œ .. œ. œ œ œ. ˙
3 3

R R
4 – ET4 Chapter 1
 . 3 3 . . > r > >
÷ 43 œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ ≈ œ .. œ œ ‰ ≈ œ ..
3 3 3

5.

F
. . > r ^
÷ ≈ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ ‰ œ œ œ
3 3 3 3

f ƒ

. r > .
÷ 42 œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œœœœ œ
3

6.

F
. . r>
÷ œ. œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ œ œ ..
3

f P

r
Slowly

÷ 44 ‰ œ œ œ ‰ œ œ œ œ œ .. œ œ œ œ œ œ œ ‰ œ œ. œ œ œ œ ‰ œ œ œ œ œ œ œ œ. œ
3 3 3 3

7.

r
÷ œ œ .. ≈œœœœ œ œ œ ‰ œ œ œ. œ œ œ œ œ ‰ œ œ œ œ. œ œ œ œ
3 3 3 3 3

r j
÷ ≈ œ œ œ ≈ œ œ œ œ .. œ ‰ œ œ œ œ œ. œ ‰ œ
3

Exercise 8 demonstrates four against three—a quadruplet.

8. ÷ 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

÷ œ.
4

œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ

÷œ œ œ œ ‰ œ œ ≈ œ œ œ ‰. r
4 4

œ œ œ œ œ
ET4 Chapter 1 – 5
1.1 Rhythm

r r
3
÷ 4 œ‰ œ ‰ œ ≈ ≈œ ‰ œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ
3

9.

÷œ œ œ œ œ œœœœ œ œ œ œ œœ≈œœ œ
4 3

r . >
÷ 43 œ .. œœ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ
3

10.

r j > > .j .
÷œ œ œ œ œ œ .. œ œ œ œ œ ‰ œœœ œ œ
4

4
÷4 Œ ‰ j r j‰
œ œ œ œ œ .. œ œ œ
3 3 4
11.
œ œ œ œ œœœœœœ œ œ œ œ œ œ

÷ .. r r Œ
œ œ ..
4

œ œ œ œ œ œ œ œ œœ œœ œ œ

÷ 43 Û Û Û Û Û Û Û Û .. ÛÛ Û |.
4

R
12.

÷Û ‰ Œ Û Û Û .. Û ÛÛ Û Û Û Û Û Û Û Û
4

J R

6 – ET4 Chapter 1
 ÷ c œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œ œ
4 3 3 3
13.
R J J
F
>
÷ œ œ œ œ œ . œ œ œ œ ≈ œ œ. œ .. œ œ œ œ œ œ œ œ œ œ œ3 œ œ œ œ œ œ œ
R
P
^
÷ œ œ œ œ œ œ œ œ œ œ œ .. œ ‰ Œ
3 3

J J R J
F

Etude

q = 88

÷ 44 œ .. r .j > ‰ ≈
œ œ œ œ œ œœ œœœœ œ œ œ œ œœœœœ œ œ œ
3 4
14.

F
÷œ œœŒ ‰ œj ‰ . œr œ œ œ œ œ ‰ œ œ . œ . œ ‰ œj œ œ œ ≈ œ .. œ
r

> . > > > > r>

÷ œr œ .. r
4

≈œœœœœœ œ œ œ œ Œ œ œ .. œ œ ..
f
> >4> > r r ‰ >j .- ^
÷ ≈ œ œ œ œ œ œ œ œ .. œ œ .. œ œ œ. œ œ œ œ Œ
F P p

ET4 Chapter 1 – 7
1.1 Rhythm

In the Groove
The hocket technique involves breaking a melody or rhythmic pattern into single notes, then
dispersing the notes within a group of vocalists or instrumentalists. Rehearse this four-part
piece until the composite rhythm flows and is accurate.

j
Composite rhythm

÷ c .. œ œ œ œ œ œ ≈ œ œ œ œ œ œ . œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3

15.

j j
÷ c .. œ ‰ Œ Œ ‰ œœ Ó Œ ‰ œœ œ ‰ Œ Œ œœœœ

÷ c .. ‰ œj Œ ‰ . œr Œ j
œ ‰ Œ Ó ‰ œ œ œj ‰ Ó
3

÷ c .. Œ j‰ ‰ Œ Ó j‰ Œ ‰ œ œ œj ‰ Œ
œ œœ œ. œ œ
3

‰ œj Œ
÷ c .. Œ j ‰ œj Œ
œ ‰ ‰ œ. Ó Ó

.
÷ œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ ≈ œ œ œœœœœœœ
3 3

.
÷Ó ≈œœ Œ .. Ó œ œ œ‰ œ
3

.
÷ ≈œœ Œ Œ ≈ œ œ .. Ó ‰ œœœœ
3

.
÷ œj ‰ œj ‰ œj ‰ œj ‰ .. Œ ≈œœ Œ œ
.
÷Œ ≈œœ Ó .. œ œœŒ Œ œ

8 – ET4 Chapter 1
1.2 Melody

Practice Method for Sightsinging

The following outline is a suggested practice method for learning to hear and sing a new
melody using Movable-Do solfege. Please note that the order of steps (shown below) is the
generally accepted approach for the beginning student. After some time has been spent prac-
ticing this approach and a reasonably comfortable level of facility with it is attained, the student
is encouraged to choose only those steps that are best suited to accomplish small tasks
and/or solve procedural problems as they arise.

Do not play the melody first and then sing it!

Do not write the solfege in the book!
Practice slowly! — with or without a metronome.

1. Rhythm: Practice just the rhythm with Tah (or Dah) and Conduct.
2. Dry Solfege (Out of Time): Identify each new note in the melody by saying its corresponding
solfege syllable without pitch. If solfege recognition is not immediate, try saying each new
syllable with every beat of the metronome as a practice method for improving this skill.
3. Dry Solfege (In Time): While conducting, practice saying the syllables in their notated
rhythm — yet still without pitch.
4. Melodic contour singing: Sing each pitch of the melody with solfege (in order while skipping
repeated notes), but out-of-time.
5. Sing the Melody: Put all of the elements together — solfege, rhythm, pitch, in time while
conducting.

Problem solving techniques

Practice the problem areas out-of-time by:
1. Singing additional unnotated target pitches with solfege to help you hear the notated
pitches (i.e., to hear the interval “do” to “mi,” sing “do,” “re,” “mi”).
2. “Inner-hear” (imagine singing the pitch without actually singing aloud) additional unnotated
target pitches with solfege to help you hear the notated pitches (i.e., to hear the interval
“do” to “sol,” sing “do,” inner-hear “re,” “mi,” “fa” and then sing “sol”).
3. Use octave displacement as a means to hear larger intervals that may occur in a melody
(i.e., to hear a minor seventh interval from “do” down to “re,” first sing or inner-hear the high
“do” moving up to “re.” Then sing the “re” one octave lower). This technique will make
singing and hearing larger intervals much easier.
4. (Especially for sight reading): Look over the melodic contour for melodic and rhythmic
patterns which repeat, pitches which outline triads and 7th chords, inversions, and
accidentals/non-diatonic pitches.

Practice material enough to perform accurately, in time, in tune, and with correct solfege. You
can practice and perform melody and rhythm at any tempo you wish, as long as you can per-
form it accurately and without interrupting the time flow. When sight-singing, do not stop time
to “fix” errors or comment on your own performance (i.e., expletives, facial gestures, groans,
etc.)…maintain the flow!

ET4 Chapter 1 – 9
1.2 Melody

Introduction to Chromaticism
Thus far in your studies you have worked on diatonic major and minor scales, the Lydian,
Mixolydian, Dorian and Phrygian modes, and mixed modality. The following solfege functions
have been presented: “do, re, mi, fa, sol, la, ti” (major), “me, le, te” (minor), “fi” (Lydian), and
“ra” (Phrygian).

In Ear Training Workbook 4, you will concentrate exclusively on melodies which use chromatic
notes. Chromatic notes are outside the basic construction of major and minor scales, but nev-
ertheless have an important relationship to those scales. They add musical color to melodies,
suggest other key areas, and facilitate modulations to other keys. In extended chromatic
melodies, the sense of key center becomes ambiguous. If melodies become too chromatic, the
sense of key center may be lost altogether, resulting in atonality.

ex.1 & w #œ w #œ w w #œ w #œ w #œ w w w bœ nw bœ nw bœ nw w bœ nw bœ nw
do di re ri mi fa fi sol si la li ti do ti te la le sol se fa mi me re ra do

– ” sound. Similarly,
Note that the ascending chromatics “di,” “ri,” “fi,” “si” and “li,” all have the “ e
all of the descending chromatics, (with the exception of “ra,” which is “rah”), “te,” “le,” “se,” “me,”
– ” sound. Deciphering the tonal functions of each note is fairly easy because each
have an “ a
note falls into one of three functions:

Chromatic Tension: di ri fi si li te le se me ra
Diatonic Tension: re mi fa sol la ti
Rest: do

To better understand the functional sound of chromatic notes, let’s examine their basic melodic
context.

In this example, “fi” (chromatic) resolves to

ex.2 & #w w w
“sol” (diatonic), which resolves to “do” (rest).
This example does not suggest that all
melodies will resolve this smoothly. However,
it does suggest a way to hear the chromatic
notes vis à vis their expected resolution.

10 – ET4 Chapter 1
 Thus in this example…

& w #w w w w
The function “fi” is heard by listening
w
ex.3
for it’s expected resolution “sol.”

…the ear basically hears:

& w w
w œ) # w w w
ex.4
(

By using this method of hearing functional expectations, you can memorize the sound of each
chromatic note.

Here are the expected resolutions of each chromatic note. Notice that ascending syllables all
expect to resolve up, descending syllables expect to resolve down. This is obvious, but it will
help you to remember that there are only 5 chromatic sounds. The syllable depends on the
expected resolution.

& #œ w #œ w #œ w #œ w
w #œ
ex.5

di re ri mi fi sol si la li ti

& bœ w bœ w bœ w bœ w bœ w
te la le sol se fa me re ra do

ET4 Chapter 2 – 11
1.2 Melody

Preparatory Exercises
We will begin the introduction of chromatics with basic expected resolutions.
Remember to concentrate on the relationship between the chromatic note
Practice visualiz- and the expected note of resolution — not on the interval between the chro-
ing the non- matic note and the note before it.
diatonic pitches

correct. Then think (hear) up to C #. When it is clear in your mind, sing it.
in all keys, not
Give yourself the reference pitch of “C.” Sing it. Make sure your intonation is
just in C major.

& #w w #w w w
w #w w #w w w #w w
do di re ri mi fa fi sol si la li ti do

&w w bw w bw w bw w w bw w bw w
do ti te la le sol se fa mi me re ra do

Preparatory Melodies
Use the same technique on the following exercises.

,
1. & b w #w w w bw w nw w w bw w bw w

,
&b w bw w
w #w w #w w bw nw w w #w w
2.

,
3. & b w #w w w nw w bw w bw w w bw

,
&b w w w nw w bw w bw w bw
4.
w w w

12 – ET4 Chapter 1
Sol-fa exercises
Sol-fa exercises will introduce you to the chromatic pitches without the additional difficulty of
notation and rhythm. The exercises introduce the new chromatic pitches found in the melodies
of each chapter. In this chapter, the melodies are in diatonic major and minor, and include the
chromatic syllables “fi” and “se.” Practice these exercises in C major and minor, as well as in
the keys found in Chapter 1 melodies.

A. “Fi” and “se” as chromatic passing and auxiliary tones.

do re mi fa fi sol la ti do / ti la sol se fa mi re do /
re me fa fi sol le te do / te le sol se fa me re do /
do mi fa fi sol do / la sol se fa re / mi sol fa fi sol do /
ti re sol se fa mi / ti do sol se fa fi sol ti do /
me fa fi sol te / le sol se fa me do / sol fi sol fa mi la /
fa mi fa se fa / me re le sol fi sol / do te do fa se fa me /
te re fa se fa sol do / ti sol fi sol mi do //

B. Indirect and unprepared approaches.

mi fa la sol fi la sol / re mi sol fa mi se fa /

me do me se fa re / mi do la fi sol / me do le fi sol /
do fi le sol mi fi la sol do / sol se mi fa re /
te le sol se me fa / le se me fa re do /
re le fi sol / me le fi sol / do se fa me te do /
ti fi sol re ti se fa mi do fi sol do //

C. “Fi” in V7/V.

do mi sol re fi la / sol fa re ti do / do la fi re fa ti do / fi la re do ti fa

re la ti re do / mi sol do fi re la fa re ti mi / do re la fi sol fa me /
la fi do re ti sol do / re fi la do le sol fa re ti me sol do //
ET4 Chapter 1 – 13
1.2 Melody

Melodic Exercises
A. “Fi” and “se” as chromatic passing and auxiliary tones.

4 Œ
1. &4 ˙ œ œ ˙ ˙ œ bœ œ œ ˙.

&œ œ ˙ ˙ œ œ œ ˙
œ #œ #œ ˙

# 4 . ‰ j . . j
Fast

& 4 œ b œ ‰ œ œ ∑ œ ‰ œ ‰ b œ œ œ œ œ œ Œ
J . J
2.

P
# . . œj ‰ j‰ œ. - j -
& œ ‰ œ ‰ b œ œ. œ œ ‰ b œ œ œ
J J - œ œ œ œ J˙
cresc. f

? b b 44 œ œ n œ >œ œ œ>. œ œ n œ >œ ˙ œ œ n œ >œ œ œ œ b œ ˙

Œ œœ
3.
J
p P F
>
? b b œ œ œ œ >œ n œ œ œ b œ œ >œ œ œ œj œ n œ œ œ œ b œ œ œ œ b œ œ œ œ Œ
J J J
f

In 2
#
# # # # 6 Eœ j j
8 œ œ # œ Jœ œ œJ œ .
E7 A F –7 E/B Bsus4 B
4. & œ œ œ #œ œ œ œ œ.
F
#
# # # # E œ b œ E/D n œ A/C j
‰ œ œ œ œ #œ œ œ œ œ œ œ œ.
A –/C E/B B7 E

& œ œ œ
P J œ p

14 – ET4 Chapter 1
 q = 116

? # 3 œ #œ œ œ. œ œ œ œ Aœ –7œ D7sus4 D
B –7(9) E –7
G GMaj7 7

4J œ #œ œ œ ‰ œ #œ œ œ ‰œ
J J J
5.

? # #œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
G GMaj7 D7 GC A –7 (add 9)

? b 3 œ. œ œ œ œ. bœ œ œ œ ‰ j œ œ bœ œ œ œ
6. bb 4 J J œ œ œ
p
? b b œ , œ œ œ œ œ œ œ . œJ œ œ œ b œ œ œ œ Ó
b
f p

B. Indirect and unprepared approaches.

>
& 44 j œ . # œj œ œ # œ œ Œ Œ
Slow

œ œ œ bœ œ œ œ ˙
œ. œ
7.

p
j
& œ # œ œ œ ‰ œ œ b œ œ œ n œ œ œj ‰ œ # œ œ œ œ œ œ b œ œ œ ‰ j
P œ œ œ

# # Ch = 72 > Ó .
œ >
Ó œ œ #œ œ bœ œ Ó Ó Nœ #œ œ œ
& œ #œ œ
8.

- >
## - > ‰ œ - >
& œ œ œ œ #œ œ œ œ ‰ œ œ #œ œ œ œ #œ œ bœ nœ œ œ œ œ Ó

ET4 Chapter 1 – 15
1.2 Melody

? # # 68 œ Jœ œ >œ œ n œ >œ Œ . œ œj œ œ œ # œ œ >œ ‰ œ œ

J
9.

f P
? # # œ- . œ œ œ œ nœ œ œ œ. ‰ œ œ œ.
œ #œ Œ.
p π

C. “Fi” in V7/V.

œ n˙. œ œ ˙. œ
FMaj7 G7 G –7 C7 FMaj7
10. & b C ˙. ˙ Ó

G7 G –7 C7sus4 C 7 E bMaj7 F

& b nœ ˙ œ œ œ œ œ œ ˙. ˙ Ó

q = 72

& 42
Samba,
œ œ œœœ
11.
œ œ œ œ œ œ. œ œ œ œ #œ œ œœœ

& ‰ œj œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ nœ œ œ œ œ œj
‰

Waltz
Ab B b7 Eb Ab
? b b b 38 œ œ œ nœ œ œ œ œ œ ‰
12.
b œ œ œ.
B b7 E b7 Ab
œ
? bb b œ œ nœ œ
œ œ. œ œ œ œ. œ œj
F –7

b œ

16 – ET4 Chapter 1
 Molto legato, q = 76
( b 9) ( b 9) ( b 9)
œ
? 4 J Jœ œœœ
D–
œ
A7
œ
D–
œ œ
A7
œ # œ œ œ
D–
œ œ
E7
# œ n œ œ œ
A7
b œ œ œ œ œ
b 4 J Jœ J Jœ J ‰J
p
13.

P F p
b B b7 b
œ œ œ œ
? b œJ œ œ œ # œ œJ œ Jœ œ bœ œ œ
A7 ( 9) D – A7 ( 9)
œ œ ˙.
D– D –/A D–

# œ Œ
J
f p

q = 116
b b 3 j j œ œ ‰ œj œ œ œ ‰ œj
14. & b 4 œ œ œ œ. œ œ œ #˙

b j œ nœ œ
& b b #œ œ œ. œ #œ œ nœ. J œ nœ œ œ ˙

Chorale

## c Œ j j œ˙ ˙ . ˙
& œ #œ
Œ . œ œ œ˙ œ œ œJ œ˙ .œ . œ œœ œ˙ ˙ œ
15.

J J J
j
? # # c ‰w œ . ˙ # œ˙ œ . ˙ œ œ b œ œ œ œ œ œ ˙
œ œ J ˙. œ bœ ˙ #˙
J
## Œ
& œœ b œ˙ œ œ ˙œ. œ
Œ œ œ ˙ œ œ Œw œ œ œ # œ œ wœ ˙ .
Œ œ j Œ œ ˙
? ## œ . œ w œ ˙.
œ Œ ˙ w œ ˙ œ ˙.
Œ
ET4 Chapter 1 – 17
 1.2 Melody

Etude

Etude q = 100
# # # #
œ œ œ œ œ œ œ
? #### 4 ‰ J # œ J œ . œ œ œ œ œ ‰ J # œ J œ J # œ œ œ œ Œ
E C –7 F –7 B7 E C –7(13)
F7 B7

16. 4
F
E/G # G #7 C#– F # –7
œ
? # # # # ‰ œJ # œ œJ œ . œ œ œ œ œ bœ œ. œ œ œ œ ˙
E B7 (13) E E7

J Ó
P
C # –7 F #7 #
œ œ œ œ .
? #### ‰ J œ œ œ œ Œ œ œ œ #œ œ œ œ œj œ Œ
A B7sus4 B7 EB7sus4 B7/D

J J
f
# # #
œ
? #### ‰ J
E
# œ œ œ
E/G
œ œ œ œJ # œ .
A F 7/A
œ bœ œ œ œ
E/B B7 E

J œ. œœ ˙ Ó
F f

18 – ET4 Chapter 1
1.3 Harmony

Secondary dominants are the most common non-diatonic chords found in a diatonic progres-
sion; let’s get familiar with them. As you’ve learned in harmonic theory class, a secondary
dominant is a non-diatonic dominant seventh chord whose root resolves down a perfect 5th to
a diatonic target chord other than the I chord. Let’s put this knowledge in our ears.

In each chapter’s “Sol-fa Progressions” section, we will explore all the secondary dominants,
including their related II–7 chords, and the concept of subV7 resolutions. Try memorizing
these patterns and look for them in real world music selections.

In order to distinguish amongst the secondary dominants, consider the diatonic identification
of each one’s root, as well as the non-diatonic guide tone that makes each secondary domi-
nant unique.

In this chapter, we’ll work with V7/V. Consider that the root motion from V7/V to V7 is “re” to
“sol.” Hearing the root motion in this way keeps your ear connected to the key. “Fi” is the non-
diatonic guide tone that distinguishes V7/V from the other secondary dominants.

Sol-fa Progressions
■ First establish the sound of the key by singing the major scale. Using
solfege syllables, sing root position arpeggios through the progression.
With seventh Singing both up and down the chord structures ensures a clear linkage of
chords, the 3rd the root motion. For example, with the first progression, sing, “do mi sol do
and the 7th are sol mi do; re fi la do la fi re; sol ti re fa re ti sol; do mi sol do sol mi do.”
considered the
“guide tones.”
■ Try singing up one chord arpeggio and then down the following chord.
This will create a more melodic approach and linkage from one chord to
the next. For example, with the second progression, sing, “do mi sol do;
do la fa re; re fi la do; ti sol fa re; do mi sol do.”

■ Apply the voice leading technique by singing horizontally through the progression. Only the
root motion and guide tones will be featured. Remember to support the guide tone lines
with root motion in the bass for a clear presentation of the chord sound.

■ Compare the two sounds of II–7 and V7/V (II7). Note that the third of the chord is the dis-
tinctive pitch. Refer to examples 2 and 3 on the next page.

■ In example 3, note that VI–7 also functions as the related II–7 of V7/V.

ET4 Chapter 1 – 19
1.3 Harmony

1. I V7/V V7 I
Mi Fi Fa Mi
Do Do Ti Do
Do Re Sol Do (Root motion)

2. I II–7 V7/V V7 I
Mi Fa Fi Fa Mi
Do Do Do Ti Do
Do Re Re Sol Do (Root motion)

3. VI–7 V7/V II–7 V7 I

Sol Fi Fa Fa Mi
Do Do Do Ti Do
La Re Re Sol Do (Root motion)

About Voice Leading

Voice leading is a linear (melodic) approach used in learning how to sing and hear a chord
progression. It involves moving from one chord tone to the next with the smallest degree of
melodic movement. Using this voice leading approach makes it easier to sing because of the
resulting common tones and stepwise motion.

If there are only three voices, the bottom voice remains as the root motion, and the upper two
voices represent the 3rd and 7th of the chord, often referred to as the “guide tones” because
they represent the most essential color of the chord sound.

20 – ET4 Chapter 1
Hands-on Practice
For a musician to have some facility on a keyboard instrument is invaluable for many reasons,
but for someone who desires an improved sense of harmonic awareness, the experience is
almost imperative.

The 3-stave exercises presented in the Harmony sections of this book are designed to be
played (on the keyboard) as well as sung. The top stave (arpeggio sequence) should be sung
while accompanying yourself with the keyboard voicings. Each chapter’s example will illustrate
one of the previous Sol-fa progressions for some “hands-on” experience.

For all of the 3-stave exercises in each chapter there are a variety of practice approaches.

1. Sing through the arpeggio sequence (top stave) by itself, or with an accompaniment of just
the bass notes indicated.

2. Play the bass line (chord root) with your left hand. Singing along as you play helps to
internalize the sound.

3. Play the top two voices (guide tones) with your right hand. Notice how voice leading makes
this an easy thing to do.

4. Once you feel comfortable with each hand individually, put them together and realize the
full voicing. Again, singing along with each line reinforces your inner-hearing awareness.

5. Sing the arpeggio sequence as you play the chord voicings.

6. When you have mastered the exercise as written, try singing through various arpeggio
patterns as you play through the chord progression.

7. Finally, memorize the chord voicings and play them in other keys.

VI–7 V7/V V7 I
4 œ œœœ
&4 œœœ
œ œ œ
œ œ # œ œ
œ œ œ œœœ
œ œœœœ˙

4
&4
w w w w

? 44 w # ww Nw ww
w w

ET4 Chapter 1 – 21
1.3 Harmony

Tensions on Secondary Dominants

Throughout this book, we will explore the diatonic tensions used on secondary dominants.
We’ll begin with V7/V.

Mixolydian is the commonly used chord scale for V7/V. There are two diatonic tensions derived
from this scale: T9 and T13. Chapter 1 focuses on hearing T9.

V7/V

w w w
D7 Mixolydian G7 target
& w œ #w w w
1 T9 3 S4 5 T13 b7 1
re mi fi sol la ti do re

Exercise
Play the root and guide tones of D7 (V7/V), and first inner-hear the root of the chord. Then

D7 arpeggio, adding T9 (1, 3, 5, b7, 9 to 1) and then resolve T9 down a whole step to the root.
sing up a whole step from this root to find T9. You can reverse this process by singing up the

You might also hear this resolution of T9 to the root, as “mi” to “re” of the key.

22 – ET4 Chapter 1
 Ear Training 4 Workbook Chapter 2

2.1 Rhythm
2
In Chapter Six of Ear Training 2, we covered the 2 time signature, becoming
3
familiar with a half-note receiving one beat in the measure. The 2 time signa-

3
3 3
ture has three beats to the measure, with each half-note receiving one beat.
The 4 conducting pattern should be used for 2 .
The 2 time

34 3
signature is often
+

2
used when +
the music has
a “maestoso” +
musical setting. +
+ 3 +
3
imaginary plane
1 2 1 2

pattern in three looks like this in practice

6
This chapter also introduces the 4 time signature. Note groupings will be 3+ 3, 4+2, and 2+4.
Three different conducting patterns will be used for each of these, demonstrating the
various subdivisions.

Rhythmic Exercises

1. ÷ 32 ˙ ˙ ˙ w ˙ Ó ˙ ˙ w Ó

÷œ œ œ œ œ œ ˙ w ˙ Ó ˙ Ó ˙ œ Œ

2. ÷ 32 œ œ œ œ ˙ ˙ œ œ œ œ œ œ Œ œ Œ œ w œ œ

÷œ ˙ ˙ œ ˙ œ œ ˙ ˙. ˙. œ œ ˙ œ Œ

ET4 Chapter 2 – 23
2.1 Rhythm

h = 104
>
3. ÷ 32 ˙ ˙ œ œ œ œ Ó œ œ ˙ œ œ œ œ œ ˙ œ ˙

> > > >

÷ Œ œ- œ. Œ œ- œ. Œ œ- œ. Œ œ- œ. œ ˙ ˙ œ œ ˙ œ- œ. Œ

.
4. ÷ 32 ˙ œ œ œ œ œ œ ˙ œ œ œ Œ Œ œœœœœ œœœœ œ œ œœœœ˙
F
.
÷ œ œ œœœ œœœ Œ œœœ œœœ œœ œ ˙ œ œ Œ
p

÷ 32 ˙ œœœœœ œ ˙ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ >œ ˙ œ œ œ œ. Œ
5.
J J
f F
÷ œ œ œ œ œ œ œ œ œ >˙ . œ œ œ œ œ œ. ‰ >œ œ œ . œ œ œ œ.
J J
P f
+

6
Use the 8 conducting pattern
68 6
+

4
+
6 6
for exercises 6 –10. + + +

3 2 1 4 5 3 2 1 4 5

÷ 46 Œ Û Û Œ Û Û | . Û Û Û Û Œ Œ Û Œ Û Û Û Û Û Ó
3+3

6.

÷Û | | Û | Œ Œ | | Û | Û Œ Û Û |.

24 – ET4 Chapter 2
 ÷ 46 œ œ œ œ. ˙> œ^ Œ œ œ œ œ œ œ Œ ˙ œœÓ œ œ œ Œ œ œ œ. ˙>
3+3
7.

F F
÷ œ œ œ œ œ^ Œ ˙> œ œ œ œ^ Œ œ œ œ œ œ- œ- œ- œ œ Œ œ- œ. Œ œ- œ œ ˙
f F

q = 72
÷ 46 ‰ œ ‰ œ œ œ œ Œ ‰ œ œ œ ‰ œ œ Œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ ‰ œ œ œ œ œ
3+3

J J J J J J J JJ J
8.

÷ œ œ œ œ Œ ‰ œ Œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ ‰ œ œ œ œ œ ‰ œ ‰ œ œ. œ Ó œœ
J J J J J J J J J J J

> > >

÷ 46 Û Û Û Û Û Û Û Û ‰ Û ‰ Û ‰ Û | . Û . Û . Û Û Û Û Û. ‰ Û . Û Û Û. Œ Œ
3+3

J J J J J J J
9.

> > > > ^

÷ Û . Û Û Û Û Û . Û Û Û Û Û . Û . Û . Û . Û. Œ Œ Û Û ‰ Œ Œ Û Û Û Û Œ Û Œ
J J

÷ 4 œ œ œ œ œ Œ Œ œ œ œ œ œ œ œ œ Œ Œ œ œj œ œ . œ œ œ œ œ . œ œ œ œ
6
3+3 3 3

10.

P f F
> ^ j . j . j ^
÷ œ œœœœœ Œ Œ ‰œ œ œœ œœ Œ ‰œ œ œœ œœ Œ ‰œ œ œœ œ œœ œ œ œ œ œ œ œ
p f

ET4 Chapter 2 – 25
2.1 Rhythm

+
Exercise 11 introduces the 4+2 grouping. +

46
This requires a change in the +
conducting pattern. 6
6
4+2 + + +

4 3 2 1 5 4 3 2 1 5

˙ ˙ ˙ œ œ œ œ œ œ w œ œ ˙ ˙
÷ 46 Ó
4+2

11.

œ œ œ ˙. œ˙ œ œ ˙ œ œ ˙ œ œ ˙
÷Œ Œ Œ

÷ 46 œ- œ. œ œ œ- Jœ œ Jœ ˙ . œ œ œ. Œ œ- œ. œ œ œ- œ œ œ ‰ ‰ œ ‰ œ ‰ œ ‰ œ œ- œ œ
4+2

12.
J J J J J

÷ œ. Œ Ó >œ œ œ >œ œ œ œ- œ œ œ œ œ. Ó œ- œ. œ œ œ- ‰ Jœ- œ. ‰ œ œ >œ œ œ >œ œ œ œ œ œ œ œ.

q = 60
÷ 46 œ œ œ œ œ œ ≈ œ œ œ œ œ . œ œ œ œ . œ . œ Jœ œ . œœ œœ œ ˙ œœ‰ Œ
4+2
13.

P
>
÷ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ ‰ œJ ˙ œ œ3 œ œ œ œ œ3 œ
F
^
÷ œJ œ œ œ œ œ œJ œ œ œ ≈ œ œ œ œ œ ≈ œ œ œ œ œ œ
f

26 – ET4 Chapter 2
 +
Use this 2+4 conducting pattern for +

46
exercises 14–16. +
+ +
6 + 6 + +
2+4 + + +

2 1 3 4 5 2 1 3 4 5

÷ 46 |
2+4

14. Û Û ÛÛÛ Û Û | ÛÛÛ Û ÛÛ| ÛÛÛÛ

÷Û Û Û Û Û Û Û Û Û Û | Û. Û Û Û Û Û Û. Û Û Û Û
J J

÷ Û Û Û Û. Û Û. Û Û Û Û Û Û Û Û ÛÛÛ Û
J J

. > j. Œ
Medium fast 2 + 4

15. ÷ 46 œj œ œj œ œ Ó j
œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ
j

j j > . -j . -j . > -j .
÷ ˙ œ. œ œ œ œ œ œ œ. œ œ œ Œ ‰ œ œ Œ ‰ œ œ œ œ œ œ œ. œ œ Ó.

÷ 46 ˙ œ. œ. œ- œ. œ. œ- ‰ œ ‰ œ œ ˙ œ. œ. œ- ˙ ‰ œ œ- ‰ œ œ- ‰ œ ‰ œ œ œ. œ. œ. œ. œ- œ-
2+4

J J J J
16.

F p
>
÷ ˙ œ. Œ Œ ‰ œ œ œ œ œ œ œ œ. œ. œ. œ. œ- œ- ˙ œ. ‰ œ Œ ≈ œ œ œ œ. œ. ‰ œ œ œ œ . œ œ. œ. œ.
J J
P p F

ET4 Chapter 2 – 27
2.1 Rhythm

Etude

Conduct in 6, using the 3+3 grouping.

q = 96
6 .> > .^ -. . -. -. > > >
÷ 4 œ œ œ œ œœœ œ Œ œœ œœ œœœœ œŒ ‰ œœ≈œœ œ œ œ œ œ œ œ œ œ
J J J J
17.

f sub p f
. -. .> > .> >
÷ œœœ œ ‰ œœœœ œ Ó œ œ œ œœœ œ œ œœ œœ œœ œœœœ œŒ Œ œœœ
3

J J
sub p sub p

-. . . ^
.
÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œŒ Œ œ œ œ œ œ Ó
3 3 4

J J J J J
f p
. ^
÷ œ œ. œ œ œ Ó œ œ œ ‰ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œœ ≈œ œ≈œ
3

J J J J
P F f
. . . ^
÷œ œœœœœœŒ œ œ œ œ œ œœ œ≈œ œ≈œ œœ Œ Œ
3 3 3 3

. . ^
÷ œ. œ œœœœ œ œ œ œ œ œœ œ≈œ œœœœ œ Œ Œ
3 3

J
cresc. ƒ

28 – ET4 Chapter 2
 In the Groove
The following example displays a rhythm that is typical of a bell pattern used
in a mambo style. The lower part simulates a conga “back beat” and the

“cut time” ( C )
Remember that upper part simulates a bell. Attempt playing the two part example yourself by
either singing one part and tapping the other, or by playing one part with one
is conducted

j j j j
in two. hand and the other part with the other hand.

÷ C .. œ œ
œ
œ œ œ œ œ œ œ œ .
œ œ .
Œ Œ œ œ Œ œ Œ
Note: “V.S.,” [It.], “volti subito” “turn over instantly,” is shorthand for indicating a page has to be
turned quickly because the music continues immediately on the next page.

Duet

j j j j
h =96 –100
œ œ œ œ œ œ œ œ œ œ 2
÷C «
Œ œ Œ œ œ Œ œ Œ œ œ
18.

÷ C Œ œ. ˙ ˙ -œ œ. Œ œ. ˙ œ œ œ œ œ
J J
2 2
ª

÷ « «
5

÷ ˙. œ. ∑ œ œ œ. ‰ œ œ >œ ˙ œ œ œ.

j j j j 2
ª

œ
÷ œœ œ œ œ œ œ œ œ œ
«
Œ œ œ Œ œ Œ œ œ
9

Œ
÷˙ œ >œ œ œ œ œ. ‰ œ œ œ œ œ œ œ œ. Œ œ- ˙
J J
2 2
ª

÷ « «
13

÷ œ. œ œ œ œ œ œ œ œ œ >œ . œ œ. œ >œ . œ. Œ
J J J
v.s.
ET4 Chapter 2 – 29
2.1 Rhythm

>
÷ œ œ œ Jœ œ . œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ
17 3 3 3

÷ œ œ œ œ >œ . œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ
3 3 3

J
ª

œ- œ. ‰ œ œ.
-
÷w œ œœœœÓ Ó œœœœ
21

J
÷ œ . œJ œ œ œ œœœ œ œœ œ Œ œœœœ œœœœŒ Œ

÷œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ ˙
25

÷Œ œ Œ œ ‘ œœœœ‰ œœœ œœ œœ œ œ

÷Œ œ œ Œ Œ œ œ œ ∑ ˙ ˙3 ˙
29

÷œ œ ˙ œ œ œ œ ˙. ˙ ˙3 ˙ ˙ ˙3 ˙

÷ œ œ œJ œ œJ œJ œ œJ œ œ œ œ œ œ œ œ3 œ œ œ Œ ^œ Œ
33

÷ œ œ œJ œ œJ œJ œ œJ œ œ œ œ œœŒ œ œ Œ ^œ Œ

30 – ET4 Chapter 2
2.2 Melody

Sol-fa Exercises
In this chapter, the melodies include the chromatic syllables “li” and “te.” Practice these
exercises in C major and minor, as well as in the keys found in Chapter 2 melodies.

A. “Li” and “te” as chromatic passing and auxiliary tones.

do re mi fa sol la li ti do / ti te la sol fa mi re do /
mi fa fi sol la li ti do / ti te la sol se fa mi /
re me fa fi sol la li ti do / te le sol se fa me re do /
sol la li ti do / re ti te la fa re / do la li ti mi /
me re ti li ti do / mi sol la te la ti do / te la li ti re ti la sol do /
se fa me ti li ti re do / la te la fa fi sol fa mi la li ti do /
sol la te le sol me do //

B. Indirect and unprepared approaches.

mi sol do li ti sol / te sol la fi sol mi do /

me ti la te le sol / la li do ti do fa se me fa /
sol te la fi le sol la ti do / sol li ti re me fa do /
sol fi sol do li ti re do / me te la sol se fa li ti do /
re te la mi li ti sol fa te la do //

C. “Te” in V7/IV.

sol te do mi fa la re do ti sol se fa mi / do mi sol te le fa do re me

fa fi sol / mi te sol la fa do la ti sol re / do te sol mi fa do le /

sol me se fa me te do //

ET4 Chapter 2 – 31
2.2 Melody

Melodic Exercises
A. “Li” and “te” as chromatic passing and auxiliary tones.

When learning
the new chro- 1.
? b 43 œ œ œ œ bœ œ œ œ œ œ œ œ ˙ Œ
matic syllables,
using the

œ œ ˙
“dry solfege”

? œ œ œ œ bœ œ œ œ #œ œ Œ
method can

b
be helpful.

q = 66
b j
& b b b b 42 œ n œ # œ n œ œ Œ œ nœ Aœ œ j
œ œ œ
2.

b bbb ‰ n œj œ b œ j œ œ nœ #œ œ œ
& b œ œ
œ œ œ nœ J

Funk, q = 80

? # 44 ≈ œ .. >œ >œ ‰ Œ >œ > >œ >œ œ œ n œ >œ œ

G7 C7 G7 E7 A –7 D7

œ œŒ ‰ œ œ ‰. œ
R > R
3.

# #
. G7 E7( 9)œ^ A7 D7( 9) G7
? # >œ >œ ‰ Œ >œ
1.
^
2.
œ œ nœ œ ≈ œ œ
# œ œ œ ‰ œ Œ ‰ . œ .. œ ‰ . ‰ . œ œ œ Œ
G7 C7 A7 D7 G7

R R R

Samba, q = 88
A b Maj7(9) o B b –7 o
b
& b b b 42 œ .
A 7 B 7
4. œ ≈ bœ ≈ œ ˙ œ. œ
≈
œ ≈ nœ ˙
A b/C F7 ( b 9) B b –7 E b7 A b(add 9)
b
& b bb œ . œ ≈ œ ≈ bœ œ. œ ≈ œ ∫œ œ œ. œ ≈ œ ≈ œ ˙

32 – ET4 Chapter 2
 Medium swing

AMaj7 F # – 7 AMaj7 F # –7 > A7

### 4 ‰ > ^ > > E7 B –7
> ^ >
E –7

& 4 . œ ˙ ‰ œ œ nœ ˙
œ œ œ œ œ œ ‹œ .
œ œ œ œ œ
5.

f
# #
### > ^
DMaj7
>
C –7 F7
> B –>7 E7
> AMaj7
& ‰ œ. œ #œ œ œ œ ‹œ œ œ œ nœ #œ ‰ œ. bœ œ œ ˙
œ œ œ ‹œ
P cresc. f

o
F# 7 G – 7 G# o7 D7 ( b 9)
& b 43 œ .
F A –7
j j
œ œ b œ œ . n œj œ œ œ œ œ œ œ œ b œ œ . œ
6.

&b j œ. bœ œ œ
G7 C7sus4 G7 C+7 FMaj7

nœ. œ œ œ J œ bœ œ œ ˙.

7.
? 44 ‰ œj œ œ œ œ œ œ b œ œ # œ n œ . Jœ # œ œ œ œ œ œ ˙ . Œ

? ‰ œ œ œ œ bœ œ œ bœ œ œ #œ œ œ œ œ œ #œ ˙.
Œ
J

b
q = 120
> j j >j
& b 44 ‰ j œ n œj œ . œj œ Œ
Swing,

‰ j œ œ œ. #œ œ. œ
8.
œ. œ œ. œ

b >
&b ‰ œ œ œ œ #œ œ œ œ bœ œ ‰
œ. œ bœ
œœ œ Œ
œ. œ œ œ #œ œ
ET4 Chapter 2 – 33
2.2 Melody

B. Indirect and unprepared approaches.

- - -
? C œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ Œ
9. b
f P
œ œ œ œ œ œ œ- œ œ œ œ œ œ œ œ œ - œ œ n œ # œ œ- œ.
œ
? œ œ œ #œ œ
b
F f ƒ

q = 58
? b 4 œ #œ œ œ nœ œ œ bœ œ œ ‰ œ
œ n œ œ. œ # œ œ Œ ‰ . Rœ
10. b 4 J
F
? bb œ # œ œ œ n œ œ œ œ b œ œ œ œ œ œ b œ. œ # œ n œ œ Ó

q . = 80
b
& b b 68 œ œJ œ œ # œ œ b œJ œ œ œ n œ
In 2,

œ œ œ œ œ ‰ Œ œ
11.
J J
P
b bb œ ∫ œ œ œ œ œ œ bœ œ nœ œ œ Œ ‰
& J œ J J #œ œ œ.
cresc. F dim. P
C. “Te” in V7/IV.

March, h = 69

&C œ œ œ ˙ œ œ œ œ #œ ˙ ‰ œj œ
C C7 F G7

œ b˙
12.
œ œ œ
F
j j
& œ œ œ œ bœ. œ œ œ œ œ œ œ œ. œ œ œ #œ œ ˙
C C7 F D7 G7sus4 G7 C
Ó
p
34 – ET4 Chapter 2
 B – 7b5 E – 7 b 5 A7
j
& b 44 œ œ œ ≈ j.
D– D7 G– D–

œ œ Œ œ œ œ ≈ œ . œ œ œ
œ œ œ œ
13.

P b
œ œ œ ≈ œJ . œ œ œ
E7 ( 5)

& b # œ œ œ ≈ œJ . #œ. œ œ
D D7 G– A7 D–
Œ
cresc. f

Jig, q . = 84

? # # # 68 œ œ œ œ # œ œ b œ œ œ j nœ
œ œ œ œ œ œ œ.
j
A E A A7 D
Œ œ
J
14.

P
œ
? ### œ # œ œ œ œ œ b œ œ œ n œ n œ œ œ œ œ œ œ
B7 E A7 D E
œ
E
œ œ œ ‰
A

Bluesy swing

œ œ œ œ >œ
? bb 44 œ œ œ b œ œ œ œ œ n œ œ Ó œ nœ œ œ œ ˙ ‰J œ
C– G – 7 G7 C– C7 F – 7 G7
15.
b œ
F f
? bb œ œ^ œ^ > Fœ – 6 œ œ œ œ >œ
C7
nœ bœ œ bœ œ œ
C– G – 7 G7 C–

b nœ nœ ‰ J œ œ œ nœ œ Ó

ET4 Chapter 2 – 35
 2.2 Melody

Chorale

Adagio, molto legato

&c œ œ œ œ ˙œ œ
œ
œ˙ œ œœ œ w˙ ˙
16.
œ œ b˙ ˙˙
p F
? c wœ œ ˙ w˙ œ˙ œ ˙˙ œ˙ œ ˙
˙ . œ

& œ˙ . œ œ œœ # œw œ œ œ œœœ œ
˙ œ œœ œ˙ œ ˙
˙ ww
œ œ œ œ j p
?w œ˙ . œ # ˙˙ wœ œ œ œ œw œ œ œ ww

Etude
q = 66
>
Relaxed funk,

bb b b 4 œ >>
17. & 4 œ bœ œ œ œ œ œ œ œ œ œ nœ œ œ bœ œ œ œ nœ œ ‰ #œ nœ
‰ ≈ ‰
f
> >
& bbbb œ œ #œ œ œ ≈ œ ≈ ∫œ ≈ œ ≈ œ œ œ œ Œ
œ œ n œ œ œ

bbb > >

& b bœ œ œ œ œ œ œ j ‰ œ œ œ œ œ b œ œ œ # œ n œ ‰ . r
œœ œœ œ nœ œ œ
P f
bbb œ > >
& b ≈
bœ nœ œ œ bœ œ œ œ œ ∫œ œ ≈ nœ œ œ bœ œ ∫œ œ bœ Œ
œ bœ nœ œ
ƒ
36 – ET4 Chapter 2
2.3 Harmony

In this chapter, we focus on V7/IV. Root motion from V7/IV to IV is “do” to “fa,” and the
non-diatonic guide tone is “te.”

Sol-fa Progressions

■ First establish the key in your ear, then sing arpeggios throughout the progressions.
Remember, you can sing all root position arpeggios, or sing alternating patterns
(up then down).

■ Apply the voice leading technique of singing across the progressions. Note the resolution
of “te” to “la” in the guide tone lines.

■ Compare the two parallel chords, Imaj7 and V7/IV, (I7). In this case, the 7th is the distinctive
pitch which determines one chord from the other. Refer to examples 1 and 2 below.

■ In example 3, V–7 functions as the related II–7 of V7/IV. The label “V–7” is used here simply
to name the chord in the key. In Harmony courses, this chord would only receive a bracket,
to indicate it’s related II–7 function.

1. I V7/IV IV V7 I
Mi Mi Fa Fa Mi
Do Te La Ti Sol
Do Do Fa Sol Do (Root motion)

2. Imaj7 V7/IV IV IV– I

Ti Te La Le Sol
Mi Mi Fa Fa Mi
Do Do Fa Fa Do (Root motion)

3. I VI–7 V–7 V7/IV IVmaj7 Imaj7

Mi Sol Fa Mi Mi Mi
Do Do Te Te La Ti
Do La Sol Do Fa Do (Root motion)

ET4 Chapter 2 – 37
2.3 Harmony

Hands-on Practice
1.Sing through the arpeggio sequence.
2.Play the bass line (root motion) with your left hand.
Singing along in 3.Now practice the guide tone lines with your right hand.
solfege as you play 4.Play the complete voicings with hands together.
each line helps
to internalize 5.Sing the arpeggio sequence while playing the keyboard part.
the sound of the
chord progression.

I V7/IV IV V7 I

& 44 œ œ œ œ œ bœ œ œ œ œ œ œ ˙ œœœœœœœ œ
œ ˙ œ œ œ œœ œ˙

& 44 w w
bw w w
? 44 ww ww w w ww
w w
Tensions on Secondary Dominants
Mixolydian is also commonly used for V7/IV. In this chapter we will focus on hearing the
diatonic T13.
V7/IV

œ bw w
C7 Mixolydian FMaj 7 target
& w w w w
w
1 T9 3 S4 5 T13 b7 1
do re mi fa sol la te do

Exercise
Play the root and guide tones of C7 (V7/IV), and first inner-hear the 5th of
the chord. Then sing up a whole step from this 5th to find T13. Notice the
Sometimes resolution of T13 to the 5th of the chord is “la” to “sol” of the key. It might be

T13 (1, 3, 5, b7, 9, 11, T13)!

it’s easy to vocally challenging to try singing up the full chord arpeggio until you arrive at
confuse natural
T9 and T13.
The trick is
remembering if
you’re hearing a
whole step above
the root or the
5 th of the chord.

38 – ET4 Chapter 2