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Solution Manual For The Musician's Guide to Fundamentals, 3rd Edition

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    Jane Piper Clendinning Florida State University College of Music Elizabeth West Marvin Eastman School of Music Joel Phillips Westminster Choir College of Rider University B W. W. NortoN & CompaNy • NeW york • LoNdoN The Musician’s Guide to Fundamentals T h i r d E d i T i o n Answer Key

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    Chapter 1 Pitch Notation and the Grand Staff 1 Chapter 2 Accidentals and Half and Whole Steps 13 Chapter 3 Simple Meters 23 Chapter 4 Beat Subdivisions and Syncopation 35 Chapter 5 Major Scales and Keys 50 Chapter 6 Compound Meters 67 Chapter 7 Minor Scales and Keys 83 Chapter 8 Intervals 101 Chapter 9 Triads and Seventh Chords 123 Chapter 10 Melody Harmonization and Cadences 141 make musiC a Write a Folk Song 158 make musiC b Write a Blues Song 167 make musiC C Write a Popular Song 176 Contents v

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    Chapter 1 Apply It Because singing and playing piano can help you understand and remember musical concepts, these performing activities will make up a significant part of your study. When singing: • Don’t be shy; sing out with enthusiasm! • Don’t worry about the quality of your voice. Sing every chance you get. Everything improves with practice. • Sing a warm-up pattern first (like the one given next) to orient your voice and ear. When playing on a keyboard: • Keep your fingers curved. • Don’t depress any pedals for now. • Typically, play different notes with different fingers. If you don’t have access to a piano: • Practice on any keyboard app. • Practice on the foldout keyboard in the front of the book. A. Sing at Sight 1. Point and sing When your teacher or a partner points to a note, sing the pitch with any of the “lyrics” shown beneath the staff. If you have a keyboard, sing and play using the left-hand (L.H.) and right-hand (R.H.) finger numbers. & œ w w w w w œ ti B do C 1 re 2 D mi 3 E fa 4 F sol 5 G la 6 A ? œ w w w w w œ 7 ^ ^ ^ ^ ^ ^ ^ ti B 7 ^ do C 1 ^ re 2 D ^ mi 3 E ^ fa 4 F ^ sol 5 G ^ la 6 A ^ 1 1 2 2 3 3 4 4 5 5 & œ w w w w w œ ti B do C 1 re 2 D mi 3 E fa 4 F sol 5 G la 6 A ? œ w w w w w œ 7 ^ ^ ^ ^ ^ ^ ^ ti B 7 ^ do C 1 ^ re 2 D ^ mi 3 E ^ fa 4 F ^ sol 5 G ^ la 6 A ^ HOME B 7 C 1 D 2 E 3 F 4 G 5 A 6 ti do re mi fa sol la ^ ^ ^ ^ ^ ^ ^ L.H. 1 R.H. 2 3 4 5 2 1 HOME L.H. 1 R.H. 2 3 4 5 2 1 HOME Apply It 1 (15)

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    2 (16) Ch A p t e r o n e pitch notation and the Grand Staff 2. Warm-ups For each warm-up, sing in a comfortable range on the “lyrics” beneath the staff. Try to achieve an open, free sound. If you have a keyboard, sing and play using the finger numbers. Warm-up 1 & w w w w œ œ œ œ w Ee 1 do 2 re 3 mi 4 fa 5 sol ah. 4 fa 3 mi 2 re 1 do w w w w œ œ œ œ w 5 sol Hee, 5 sol hee, e, 5 sol he e, 5 sol he 5 sol hah. 4 fa 3 mi 2 re 1 do ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w 1 do Ee 2 re 3 mi 4 fa 5 sol 4 fa 3 mi 2 re 1 do ah 2 re 3 mi 4 fa 5 sol 4 fa 3 mi 2 re 1 do ah. ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ Warm-up 2 & w w w w œ œ œ œ w Ee 1 do 2 re 3 mi 4 fa 5 sol ah. 4 fa 3 mi 2 re 1 do w w w w œ œ œ œ w 5 sol Hee, 5 sol hee, e, 5 sol he e, 5 sol he 5 sol hah. 4 fa 3 mi 2 re 1 do ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w 1 do Ee 2 re 3 mi 4 fa 5 sol 4 fa 3 mi 2 re 1 do ah 2 re 3 mi 4 fa 5 sol 4 fa 3 mi 2 re 1 do ah. ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ 3. Melodies Play the first pitch, then sing each melody in a comfortable range with each set of “lyrics” beneath the staff. Sing the hollow notes longer than the filled notes. Check your pitches by listening to the recording or playing them on a keyboard. Melody 1 & w œ œ w œ œ w œ œ w 1 do 1 do 2 re 3 mi 3 mi 4 fa 5 sol 4 fa 3 mi 2 re œ œ œ œ œ œ œ œ w œ œ w 1 do 2 re 3 mi 4 fa 5 sol 4 fa 3 mi 2 re 1 do 1 do 7 ti 1 do & w œ œ œ w œ œ œ w œ œ œ w do 1 do 1 re 2 mi 3 re 2 re 2 mi 3 fa 4 sol 5 sol 5 fa 4 mi 3 re 2 œ œ œ œ œ œ w œ œ œ w œ œ œ w 1 do 2 re 3 mi 4 fa 5 sol 6 la 5 sol 5 sol 4 fa mi 3 re 2 4 fa mi 3 re 2 1 do ? w œ œ œ w œ œ œ w œ œ œ w do 1 re 2 3 mi 4 sol 5 la 6 sol 5 fa fa 4 mi mi 3 fa 4 3 2 mi re 3 w œ œ œ w œ œ œ w œ œ œ w do 1 re 2 mi 3 fa 4 sol 5 fa 4 mi 3 re 2 do 1 ti 7 do 1 re 2 do 1 ? w w œ œ œ œ w œ œ œ œ w w w 1 do 3 mi 4 fa 3 mi 2 re 1 do 2 re 1 do 2 re 3 mi 4 fa 5 sol 6 la 5 sol w w œ œ œ œ w œ œ œ œ w w w sol 5 3 mi 2 re 3 mi 4 fa 5 sol 4 fa sol 5 4 fa 3 mi 2 re 1 do 7 ti do 1 ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ Melody 2 & w œ œ w œ œ w œ œ w 1 do 1 do 2 re 3 mi 3 mi 4 fa 5 sol 4 fa 3 mi 2 re œ œ œ œ œ œ œ œ w œ œ w 1 do 2 re 3 mi 4 fa 5 sol 4 fa 3 mi 2 re 1 do 1 do 7 ti 1 do & w œ œ œ w œ œ œ w œ œ œ w do 1 do 1 re 2 mi 3 re 2 re 2 mi 3 fa 4 sol 5 sol 5 fa 4 mi 3 re 2 œ œ œ œ œ œ w œ œ œ w œ œ œ w 1 do 2 re 3 mi 4 fa 5 sol 6 la 5 sol 5 sol 4 fa mi 3 re 2 4 fa mi 3 re 2 1 do ? w œ œ œ w œ œ œ w œ œ œ w do 1 re 2 3 mi 4 sol 5 la 6 sol 5 fa fa 4 mi mi 3 fa 4 3 2 mi re 3 w œ œ œ w œ œ œ w œ œ œ w do 1 re 2 mi 3 fa 4 sol 5 fa 4 mi 3 re 2 do 1 ti 7 do 1 re 2 do 1 ? w w œ œ œ œ w œ œ œ œ w w w 1 do 3 mi 4 fa 3 mi 2 re 1 do 2 re 1 do 2 re 3 mi 4 fa 5 sol 6 la 5 sol w w œ œ œ œ w œ œ œ œ w w w sol 5 3 mi 2 re 3 mi 4 fa 5 sol 4 fa sol 5 4 fa 3 mi 2 re 1 do 7 ti do 1 ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ Melody 3 & w œ œ w œ œ w œ œ w 1 do 1 do 2 re 3 mi 3 mi 4 fa 5 sol 4 fa 3 mi 2 re œ œ œ œ œ œ œ œ w œ œ w 1 do 2 re 3 mi 4 fa 5 sol 4 fa 3 mi 2 re 1 do 1 do 7 ti 1 do & w œ œ œ w œ œ œ w œ œ œ w do 1 do 1 re 2 mi 3 re 2 re 2 mi 3 fa 4 sol 5 sol 5 fa 4 mi 3 re 2 œ œ œ œ œ œ w œ œ œ w œ œ œ w 1 do 2 re 3 mi 4 fa 5 sol 6 la 5 sol 5 sol 4 fa mi 3 re 2 4 fa mi 3 re 2 1 do ? w œ œ œ w œ œ œ w œ œ œ w do 1 re 2 3 mi 4 sol 5 la 6 sol 5 fa fa 4 mi mi 3 fa 4 3 2 mi re 3 w œ œ œ w œ œ œ w œ œ œ w do 1 re 2 mi 3 fa 4 sol 5 fa 4 mi 3 re 2 do 1 ti 7 do 1 re 2 do 1 ? w w œ œ œ œ w œ œ œ œ w w w 1 do 3 mi 4 fa 3 mi 2 re 1 do 2 re 1 do 2 re 3 mi 4 fa 5 sol 6 la 5 sol w w œ œ œ œ w œ œ œ œ w w w sol 5 3 mi 2 re 3 mi 4 fa 5 sol 4 fa sol 5 4 fa 3 mi 2 re 1 do 7 ti do 1 ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ Melody 4 & w œ œ w œ œ w œ œ w 1 do 1 do 2 re 3 mi 3 mi 4 fa 5 sol 4 fa 3 mi 2 re œ œ œ œ œ œ œ œ w œ œ w 1 do 2 re 3 mi 4 fa 5 sol 4 fa 3 mi 2 re 1 do 1 do 7 ti 1 do & w œ œ œ w œ œ œ w œ œ œ w do 1 do 1 re 2 mi 3 re 2 re 2 mi 3 fa 4 sol 5 sol 5 fa 4 mi 3 re 2 œ œ œ œ œ œ w œ œ œ w œ œ œ w 1 do 2 re 3 mi 4 fa 5 sol 6 la 5 sol 5 sol 4 fa mi 3 re 2 4 fa mi 3 re 2 1 do ? w œ œ œ w œ œ œ w œ œ œ w do 1 re 2 3 mi 4 sol 5 la 6 sol 5 fa fa 4 mi mi 3 fa 4 3 2 mi re 3 w œ œ œ w œ œ œ w œ œ œ w do 1 re 2 mi 3 fa 4 sol 5 fa 4 mi 3 re 2 do 1 ti 7 do 1 re 2 do 1 ? w w œ œ œ œ w œ œ œ œ w w w 1 do 3 mi 4 fa 3 mi 2 re 1 do 2 re 1 do 2 re 3 mi 4 fa 5 sol 6 la 5 sol w w œ œ œ œ w œ œ œ œ w w w sol 5 3 mi 2 re 3 mi 4 fa 5 sol 4 fa sol 5 4 fa 3 mi 2 re 1 do 7 ti do 1 ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ 1 2 3 4 5 4 3 2 1 5 5 5 5 5 4 3 2 1 R.H. 5 4 3 2 1 2 3 4 5 4 3 2 1 2 3 4 5 L.H.

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    a c t i v i t y : t e a c h i n g s t r at e g i e s Apply It A.1 (Point and sing) may be projected onto a classroom screen. This activity will help students to: (1) learn common melodic patterns; (2) associate letter names, piano keys, and pitches with each other and with melodic patterns; and (3) notate melodic patterns from memory. • Establish home by playing middle C. You might also sing (or play) a key-establishing pattern. For example, sing C–E–G–F–D–B–C–G–C (or play I–ii 6 –V–I) in C major. & ? w w w w I C: w w w w ii 6 w w w w V w w w w I • To create a melody, point to a succession of letters, pitches, or piano keys. As soon as you point to an item, students should sing the pitch with its letter name. • The staff notation gives the pentachord C–D–E–F–G as whole notes. These should be the primary tones of your melodies. The neighbor tones below (B) and above (A) are shown as filled note heads to indicate their subsidiary role as embellishments. • Make the lines musical, with a balance of rising and falling motions. • Begin with simple three-to-five-note patterns, and increase the number of notes as the class becomes more proficient. • Include some skips to test students’ association of pitch, letter name, and piano key. • Repeat a melody until students memorize it. • Ask the class to write your melody with letters names or pitches on a treble or bass staff. • Eventually, hide an item, such as the letter names, and have students perform another item without the help of the hidden one. • As students become more proficient, point to a sequence of three to five items (letters, pitches, or piano keys) and ask students to refrain from singing until you have completed the sequence. Once you signal that the pattern is complete, students sing it back to you. This helps develop students’ musical memory. • Students can practice creating and notating patterns at home with the foldout keyboard in the text, or a piano keyboard app. Call on a few students to play their patterns for the class. Apply It 3 (16a)

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    Listen and Write 1.1 A. Listen to each example. Then write letter names and/or “lyrics” in the blanks beneath the staff, as directed. Finally, notate the pitches with open note heads. 1. & w w w w w w C C C D E C 1 ^ 1 ^ 1 ^ 2 ^ 3 ^ do 2. & w w w w w w w C 1 ^ do 3. & w w w w w w w w w C 1 ^ do 4. ? w w w w w w w C 1 ^ do 1 ^ do do re mi do D C D E D C 2 ^ 1 ^ 2 ^ 3 ^ 2 ^ 1 ^ re do re mi re do D E F G A G E C 2 ^ 3 ^ 4 ^ 5 ^ 6 ^ 5 ^ 3 ^ 1 ^ re mi fa sol la sol mi do 4 (17) Ch A p t e r o n e pitch notation and the Grand Staff B C D E D C 7 ^ 1 ^ 2 ^ 3 ^ 2 ^ 1 ^ ti do re mi re do

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    Listen and Write 1.1 5 (18) 5. ? w w w w w w w w w w C D E G F E D E D C 1 ^ 2 ^ 3 ^ 5 ^ 4 ^ 3 ^ 2 ^ 3 ^ 2 ^ 1 ^ do re mi sol fa mi re mi re do B. Hearing and writing a folk song Listen to part of a melody. It consists of four segments. Segments 1 and 2 each include four pitches. Segments 3 and 4 each have three pitches. (See p. 6 for score. You may wish to begin this exercise as a class activity and ask students to finish it at home.) 1. Focus on segment 1, the first four pitches. Which of the following best diagrams the contour of the segment? (a) (b) (c) (d) 2. Focus on the ending. Which of the following best diagrams the contour of segment 4? (a) (b) (c) (d) 3. Which of the following best describes how the segments are organized? Segment 1 Segment 2 Segment 3 Segment 4 (a) idea 1 idea 1 repeated idea 2 idea 1 returns (b) idea 1 idea 1 repeated idea 2 idea 2 repeated (c) idea 1 idea 2 idea 3 idea 4 4. On the staff to the left, notate segment 1 (four notes) with the pitches C, D, and E. On the staff to the right, notate segment 4 (the final segment of three notes) with the pitches E, F, and G. & ˙ ˙ ˙ ˙ & ˙ ˙ ˙ 5. On the following staff, notate the pitches of the entire melody. & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ segment 1 segment 2 segment 3 segment 4

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    6 (18a) Ch A p t e r o n e pitch notation and the Grand Staff “Are You Sleeping?” (teacher’s score) & 4 2 œ œ œ œ Are you sleep ing, œ œ œ œ Are you sleep ing, œ œ œ Bro ther John, œ œ œ Bro ther John? - - - - segment 1 segment 2 segment 3 segment 4

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    Workbook A s s i G n m E n t 1 . 1 A. Letter names Fill in the letter name requested. Remember to count the letter you begin with. (1) 6 above C: (4) 7 below A: (7) 4 below D: (10) 5 below B: (2) 3 above G: (5) 4 above D: (8) 5 below E: (11) 7 above G: (3) 2 below F: (6) 2 above E: (9) 7 above C: (12) 3 below A: A B A E B G A F E F B F B. Identifying notes on the keyboard On the following keyboards, write each letter name on its corresponding key. E F A B C D G B B , A , F , E ) 2 ( B , G , D , C 1) ( On the following keyboards, write each letter name on every key with that name (in three octaves). (3) C, E, A (4) G, B, D C E A C E A C E A D G B D G B D G B C. Drawing clefs (1) Trace the treble clefs given as dotted lines, then draw additional clefs. Workbook Assignment 1.1 7 (19)

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    8 (20) Ch A p t e r o n e pitch notation and the Grand Staff (2) Trace the bass clefs given in dotted lines, then draw additional clefs. D. Reading notes in treble and bass clefs Write the letter name of each pitch in the blank provided. E. Reading notes in music In each blank, write the letter name of the note above. (1) Stevie Wonder, “You Are the Sunshine of My Life,” mm. 5–11 & 4 4 5 Œ ‰ J œ œ œ œ You are the sun 6 J œ œ J œ J œ œ j œ shine of my life 7 . ˙ Œ - & 8 9 Œ ‰ J œ œ œ œ That’s why I’ll al 10 J œ œ J œ œ œ œ ways be a round 11 œ œ œ . ˙ - - (2) Lennon and McCartney, “Hello, Goodbye,” mm. 17–21 & 17 J œ œ J œ ˙ I say high 18 J œ œ J œ ˙ You say low 19 J œ œ J œ . œ j œ You say why and & 20 j œ œ J œ J œ œ J œ I say I don’t know 21 w C (1) —— (2) —— (3) —— (4) —— (5) —— (6) —— (7) —— (8) —— (9) —— (10) —— (11) —— (12) —— (13) —— (14) —— (15) —— (16) —— B E C A A F F D F G A D E E B —— —— —— —— —— C —— —— —— —— —— C F E D C D B A G —— —— —— —— —— —— —— —— —— —— D F C E B D A C E G

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    Workbook A s s i G n m E n t 1 . 2 A. Identifying pitches with ledger lines For each pitch notated on the staff, write its number on the correct key of the keyboard in the correct octave. Write the letter name on the blank beneath the staff. 10 8 9 11 14 12 13 middle C (1) —— (2) —— (3) —— (4) —— (5) —— (6) —— (7) —— F B F A D G B 1 2 3 4 5 6 7 C middle C F Beneath each pitch, write its letter name and octave number. Workbook Assignment 1.2 9 (21) C (8) —— (9) —— (10) —— (11) —— (12) —— (13) —— (14) —— (22) —— (23) —— (24) —— (25) —— (26) —— (27) —— (28) —— A1 D4 F2 G4 E2 G1 C4 F B G E F A (15) —— (16) —— (17) —— (18) —— (19) —— (20) —— (21) —— A4 D6 G3 E5 B3 G5 C5

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    10 (22) Ch A p t e r o n e pitch notation and the Grand Staff B. Identifying pitches with ledger lines and octave numbers in music In the following passages, write the letter name and octave number for any ledger-line note marked by an arrow. (1) Mozart, Variations on “Ah, vous dirai-je Maman,” mm. 1–8 ? 4 2 . . 1 œ œ 2 œ œ 3 œ œ 4 œ œ 5 œ œ 6 œ œ 7 œ œ 8 ˙ (2) Mozart, Variations , Var. VII, mm. 187–192 & . . 187 œ œ œ # œ œ œ œ œ 188 œ œ n œ # œ œ œ œ 189 œ n œ œ œ œ œ 190 œ œ œ œ œ œ 191 œ œ œ œ œ œ 192 œ œ œ Œ (3) Mozart, Variations , Var. XII, mm. 293–296 ? . . 293 œ œ œ # œœœœœ œ œœœ 294 œ n œ n œœœœœœ œ œ œ # œ 295 œ œ œ œ œ n œ œ œ œ œ œ # œ 296 œ œ œ œ n œ œ œœ œ C. Writing pitches with ledger lines and octave numbers For each number on the keyboard, write the corresponding note on the staff below it in the correct octave. 1 2 3 4 5 middle C middle C 6 7 8 9 10 —— —— —— —— E6 D6 C6 B5 —— —— —— —— —— —— D2 B1 A1 F1 G1 C2 —— —— —— —— —— —— C4 E4 F4 E4 D4 C4

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    Workbook A s s i G n m E n t 1 . 3 A. Writing pitches with ledger lines, stems, and octave numbers For each note requested, neatly write a hollow note head on the correct line or space of the staff, then add a stem that extends in the correct direction. & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ? ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ? ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ E4 A5 C6 G4 F3 G5 B3 E5 F6 C4 G3 F2 C4 B2 A3 D2 E4 G3 F4 C2 B3 G2 (1) (2) For each pitch given, rewrite in the octave specified. (3) Rewrite exactly two octaves lower. ? w w w w w w w w w w w w w w w w w w w w (4) Rewrite exactly two octaves higher. Assignment 1.3 11 (23)

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    12 (24) Ch A p t e r o n e pitch notation and the Grand Staff B. Arranging: Changing clef and octave Rewrite the pitches of each melody down one or two octaves as specified, on the staff provided. Copy the original notation (even the symbols that are unfamiliar to you) but change stem direction as needed. You do not need to copy the lyrics. (1) Stephen Foster, “Jeanie with the Light Brown Hair,” mm. 5–8. Write the music down one octave. & 4 4 œ I 5 . œ j œ œ b œ œ œ dream of Jea nie with the 6 j œ ‰ œ œ ˙ light brown hair, 7 œ œ œ œ œ Borne, like a va por, 8 . œ œ œ œ œ on the sum mer air; - - - ? 4 4 œ . œ J œ œ b œ œ œ J œ ‰ œ œ ˙ œ œ œ œ œ . œ œ œ œ œ (2) Billy Joel, “Piano Man,” mm. 72–78. Write the music down two octaves. & 4 3 œ œ Well we’re 72 œ . œ J œ all in the 73 œ . œ J œ mood for a 74 œ œ ˙ mel o dy 75 Œ Œ œ And 76 œ œ œ you’ve got us 77 œ œ œ feel in’ al 78 . ˙ right. - - - ? 4 3 œ œ œ . œ J œ œ . œ J œ œ œ ˙ Œ Œ œ œ œ œ œ œ œ . ˙ (3) Rewrite the beginning of “Amazing Grace” up one octave, as though scored for violin or flute. You’ll need to use ledger lines. & 4 3 œ A 1 ˙ œ œ maz ing 2 ˙ œ grace, how 3 ˙ œ sweet the 4 ˙ œ sound That 5 ˙ œ œ saved a 6 ˙ œ wretch like 7 . ˙ me! 8 ˙ - - & 4 3 œ ˙ œ œ ˙ œ ˙ œ ˙ œ ˙ œ œ ˙ œ . ˙ ˙

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    Chapter 2 Apply It A. Sing at sight Mark the half steps with brackets, as shown in Melody 1. Then perform the melodies with the lyrics shown. Sing the hollow notes longer than the filled notes. Vary your performance in the following ways: ● Echo melodies after your teacher or the recording. ● Play on a keyboard and sing along. Melody 1 1 ^ 2 ^ 1 ^ 7 ^ 1 ^ 1 ^ 1 ^ 2 ^ 3 ^ 2 ^ 1 ^ 1 ^ 1 ^ 2 ^ 3 ^ 4 ^ 5 ^ 5 ^ 5 ^ 4 ^ 3 ^ 2 ^ 1 ^ 1 ^ do re do ti do do do re mi re do do do re me fa sol sol sol fa mi re do do Melody 2 1 ^ 7 ^ 1 ^ 2 ^ 3 ^ 4 ^ 5 ^ 5 ^ 6 ^ 5 ^ 4 ^ 3 ^ 2 ^ 1 ^ do ti do re mi fa sol sol la sol fa mi re do Melody 3 1 ^ 2 ^ 3 ^ 4 ^ 5 ^ 4 ^ 3 ^ 2 ^ 1 ^ 7 ^ 1 ^ 7 ^ 1 ^ 2 ^ 1 ^ do re mi fa sol fa mi re do ti do ti do re do Melody 4 1 ^ 7 ^ 1 ^ 2 ^ 3 ^ 2 ^ 3 ^ 4 ^ 5 ^ 6 ^ 5 ^ 4 ^ 3 ^ 4 ^ 3 ^ 2 ^ 1 ^ 2 ^ 3 ^ 4 ^ 5 ^ 4 ^ 3 ^ 2 ^ 1 ^ do ti do re mi re mi fa sol la sol fa mi fa mi re do re mi fa sol fa mi re do Melody 5 1 ^ 1 ^ 2 ^ 3 ^ 2 ^ 3 ^ 4 ^ 5 ^ 5 ^ 6 ^ 5 ^ 5 ^ 4 ^ 5 ^ 4 ^ 3 ^ 2 ^ 1 ^ 7 ^ 1 ^ 2 ^ 1 ^ do do re mi re mi fa sol sol la sol sol fa sol fa mi re do ti do re do Apply It 13 (37)

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