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Libraries-Claremont

Colleges



?



Digitized

by

the

Internet

Archive

in 2011

http://www.archive.org/details/musicaldictationOOritt



LIFE

OF

MOZART

BY

OTTO

JAHN.

Translated

from

the German

by Pauline D.

Townsend.

With five Portraits, and Preface

by George Grove, D.C.L.

Three Volumes, Cloth,

price

£1

us. 6d.

THE TIMES.

Mr.

Grove,

in

his

brief

and

able preface, calls the publication in

an

English

dress of

Otto

Jahn's

famous

biography of

Mozart

'

an event in

our

musical history,' and his

statement cannot

be

considered

an

exaggeration.

. .

.

The English

public

is

to

be

congratulated

upon

a

translation

of

his monumental

effort which may

without

exaggeration

be

called

excellent. Miss

Townsend

has

done

her

work

with

skill

and

conscientiousness,

and

we

doubt whether

a

much

more

careful

comparison with

the

original

than

we

have thought it

necessary

to undertake would discover many,

or any, serious

blunders.

DAILY

NEWS.

He

(Jahn)

has made

admirable use of Nissen, with

his

laborious

compilation, and of

all other

authorities,

and

he has

succeeded in

producing

a

work

which

is complete

without being

confusing

through

excess

of

detail,

and in

which the

interest of the

narrative

is not broken by

undue

reference

to

other

writers

who,

treating

of the

same

points,

have

treated

them

differently and

often

incorrectly.

THE ATHEN^UM.

It is with

great

pleasure

that

we are able to

speak in terms

of the

highest

praise

of the manner

in

which

Miss

Townsend has

acquitted

heiself of

the by no means

easy

task

of

translation.

In

so

voluminous

a work as

the

present it is almost inevitable

that a

few

slips

should be

found;

but

those we

have

noted

are not

only extremely rare,

but mostly of

slight

importance.

.

.

.

We

have

done

inadeo.uate

justice

in

this

review to

one

of

the most important

works

in

the

wholf

domain

of

musical

literature

;

our

excuse

must

be the

absolute impossibility of

dealing

fully

with it

within

reasonable bounds.

We

conclude

by

most

cordially recommending

it to

all who

are

interested

in

music, and need

only

add that the printing

and

general

appearance

of the

volumes

are worthy alike

of their contents and of the

reputation

of the firm

which

publishes

them.

JOHANN

SEBASTIAN

BACH

His Work

and

Influence on

the Music

of

Germany,

1685-1750.

BY

PHILIPP

SPITTA.

TRANSLATED FROM

THE

GERMAN

BY

CLARA BELL

AND

J.

A.

FULLER

-MAITLAND.

Three

Volumes,

Price

£2

2s.

THE

ATHEN^UM.

•'

Of

the

translation we can

speak most

favourably. Not

only

is it, so

far

as we have

compared

it,

very

faithful to

the

original, but it is

thoroughly

readable.

. .

.

Nevertheless,

his

book

is

a

Bterling

work

which ought to be

on

the

shelves of every musician;,

and

we

congratulate

the

translators

and the

publishers on

having successfully completed

the

arduous

task

of

presenting

it in

an

English dress.

SUNDAY

TIMES.

Criticism

on

such a stupendous

effort

would

be

impertinent unless far

more comprehensive

than

that

which

could

be

bestowed

in the

space at

my

disposal.

It must

suffice, therefore,

to

say

that

the work of

translation

has, so far,

been

accomplished

by

Miss

Clara Bell

and Mr. Fuller-

Maitland

in a manner that

commands the

highest

praise,

and that the

volume

is

brought

out

in the

handsome

and

faultless style

for

which

Messrs.

Novello's

publications are

deservedly

famous.

DAILY

CHRONICLE.

Herr

Spitta

dwells

with

the

most minute

and loving interest upon

every

point

that

can by any

possibility

help the

full

understanding

of

Bach's character. His parents,

his

home,

and

his

contemporaries are

studied,

and

the

musical works of the

latter

analysed

so

as to

show

their

influence

upon

the

mind

of his

pupil. .

.

.

The

work

is

ably translated.

LONDON

&

NEW

YORK:

NOVELLO,

EWER &

CO



./

NOVELLO,

EWER

AND CO.'S MUSIC

PRIMERS.

Edited

by

Dr. STAINER.

MUSICAL

DICTATION

A

PRACTICAL

GUIDE

FOR MUSICAL STUDENTS

BY

FREDERIC

LOUIS

RITTER,

Mus. Doc,

Author

of

Music

in America,

Music

in

England,

History

of

Music,

Manual

of

Musical

History,

etc.

IN

TWO PARTS.—

PART

I.

Price,

in paper

cover,

50

Cents.

\

-

,,<

'paper,

boards,

75

Cents'.

LONDON' &-N£W'

YORK

/NOVELLO, EWER

AND

CO.

Entered

according

to Act

of

Congress in the

year

1887,

^

Novello,

Ewer

&

Co.

in

the

Office

of

the

Librarian

of

Congress,

at

Washington.



NOVELLO, EWER

AND

CO.,

TYPOGRAPHICAL MUSIC AND GENERAL PRINTERS

I, BURNERS

STREET, LONDON (\V.)



MT

35

R61

PT.

1

HON/

MUDD

RITTER,

F

MUSICAL

D

ICTATION

*********

HON/MUDD

LIBRARY

TABLE

OF

CONTENTS.

Page

Introductory

Remarks

5

EXERCISE

I.

Arrangements

of

Notes and Rests into

Measures

;

The

Dot

;

The Tie

;

Signature

of

Time

...

9

EXERCISE

II.

The

Interval

of

the Second

;

Motives

;

Metre

;

Rhythm

;

Accent

22

EXERCISE

III.

Phrases;

The

Interval

of the Third

26

EXERCISE

IV.

Phrases

;

The

Interval

of the

Fourth

;

The

Up-beat

;

Beating

Time

31

EXERCISE V.

Phrases;

The Interval of

the Fifth;

Syncopation

36'

EXERCISE

VI.

Phrases

;

The Interval

of

the

Sixth

;

Triplets

40

EXERCISE

VII.

Phrases; The

Interval

of the

Seventh

...

44

EXERCISE

VIII.

Phrases;

The

Interval

of

the Octave;

Diatonic

Scale;

Signature

of

Key

48

EXERCISE

IX.

Phrases;

Chromatic Signs

or

Accidentals

;

Chromatic

Scale

53

EXERCISE

X.

Phrases

in

Major and

Minor

Keys;

Minor

Scale

58

EXERCISE

XL

Sections;

Periods; Sequence ...

...

62

EXERCISE

XII.

Phrases,

Sections,

and

Periods extracted from

the

Works

of

Classical

and

Modern Composers; Motion;

Transition

72



MUSICAL DICTATION

INTRODUCTORY

REMARKS.

Every musician

who has had

classes

in harmony

under

his

charge

has,

no doubt, made

the experience

that

students,

when

even endowed

with

only an

average degree

of

talent

and

applica-

tion,

can be taught to harmonize

with

a

good

deal

of

correctness

either

a

given

bass

or

a melody

;

making,

at the

right

places, use

of modulations,

suspensions, passing

notes,

etc.

Nay, some

even

will

become able

to master with

a

certain

facility the

different species of

simple

counterpoint in

two,

three and

four

parts. But

in

all these

tasks

they can

hang

on the

leading

strings

of

certain

fixed

rules.

The case becomes,

however, quite different when

those

leading

strings

are

loosened,

and

students thrown

on

their

own

resources,

that

is,

obliged

to invent a

melody

with

a

suitable

harmony.

Although

most

of

them

may

have

acquired facility

in working

out

their

examples

in

harmony

away

from

the

pianoforte, they

now, in

order to find a

simple

melodic motive, become

the

slaves

of

the keyboard

;

and

it

also

causes

them

the

greatest

trouble

to

write

down

correctly the melody they have picked

out

on the

keyboard. But

the trouble increases

when

such a

melody

has

to

be

provided with

a

suitable natural

harmony. All

that

they

had

previously

learned about

harmony seems

to desert

them

now

at

once

:

they

find

themselves

utterly

at

sea.

I

have almost invariably found that even

able

pianoforte

or

vocal

students,

well-grounded in

the

rudiments of

music,

when

asked

to

write

down from

memory the

melodic

passage

of

the

first bar

only of the

simple

piece

or

song

they have

just

been

playing

or

singing

for

me correctly by

heart, can

absolutely not

do

it

:

to

fix the

respective pitch

of the different

notes

of the

melodic

passage,

and

especially

the

division

of time,

presents

unsurmountable

obstacles

to

them.

Having

had

ample

opportunity

to

make

the

closest

observa-

tions

regarding

all those shortcomings on

the

part

of

musical

students,

and being desirous

to

help in

removing

them,

I

have

concluded,

after

practically testing its

usefulness, to

work

out

this

method

of

musical

dictation. I

became

convinced

that

in



6

MUSICAL

DICTATION.

order to

strengthen

the

musical

memory

in

the

right

direction,

and

teach students

to

think musically, they

ought

to

possess

the

faculty

of

writing

down

correctly

all

they

are

able to

play or

sing

correctly by

heart

;

and

this

faculty

can be

acquired

by

means

of

musical

dictation

;

in

this

way

the

musical sense

becomes

sharpened, the

more

delicate

shades

of time,

rhythm, the

cut

of

the

melodic motive and its expansion into

phrases and

periods

will

be impressed upon the mind more

vividly

and

more

distinctly.

The

melody,

which

now

lingers

in

the mind

like an

indistinct

shadow of divers sounds,

will

by

means of this

method,

when

well

mastered,

take

definite

shape,

and

at

the

desire

of

the

musical

student

can

be

fixed

upon

paper

in

visible

characters.

I

am convinced of

the

fact

that this course of musical

dictation,

when

closely

and

rationally

connected

with the

general

course

of

musical

education, will

also help to form

more

intelligent, more

appreciative

listeners

:

a

wealth

of characteristic

beauties,

con-

tained

in

a

fine composition and

which

formerly

escaped

them

entirely,

will

now

be

revealed

to them,

for

they have

acquired

tin

art

of

listening

in

the

right

manner. This

surely

will

be a

great

gain.

I

have

worked

out

this

method

with

a

double

purpose

:

Firstly,

to

teach

musical

students

to become

able

to

write down

correctly,

after

hearing

once,

any

melodic

phrase

or

period

of

vocal or

instrumental

music

;

or,

if

required,

the

entire

piece

they are

able

to

play

or

sing

by

heart,

and

especially to enable

them

to

fix

their

own

melodic

thoughts.

Secondly, to teach the

general

laws

that

lie

at

the

foundation

of

all

musical

forms, to

show

the

formation

of

motives

and

their

expansion into

periods,

and

also

in

this

way

to

excite

those

especially

gifted

with

melodic talent

to

self-production.

Anyone

who

has

had

experience

as

an

instructor of

harmony

and composition

knows,

no

doubt,

how

difficult

it

is

to

initiate

students into

the

complex

melodic and

harmonic

forms

of

instruction

of a

musical composition,

or to

teach

them

how

to

analyse

rightly

such

forms.

I

believe

that

by

means

of

this

method

of

dictation,

not

only

students

in

composition,

but

also

pianoforte

players,

to

whom

the

formal

construction

of

pieces

is

on

the

whole

a

terra

incog-

nita,

can

be

taught

to

gain

the

power of

seeing into

the

prin-

ciples

that

govern

the

construction

of a

musical

work,

small

or

I

have

divided

this

course

into

two

Parts : the

first

consists

of

monodic,

or

single-voiced

exercises

;

the second,

of

exercises

based

on

harmony.

Each

Part

is

calculated

to

occupy

one

school-

year's

time.

1

he

first

Part

may

be

taken

up

by

any

instrumental

or

vocal

student

who

is

well

acquainted

with the

value of

the

notes

and

rests.

Anyone

who

will

devote

to these

dictations

only

ten

minutes

of

each

of

the

regular

two

weekly

lessons,

will

soon



MUSICAL

DICTATION.

7

become

aware of their

advantages.

While,

on one hand,

this

course of study will

serve

as

a

welcome recapitulation of

things

learned in

former lessons,

making

clear that which

the

often

slovenly

manner

of

committing to

memory

failed

to do

;

it will,

on the

other

hand, afford

students

an

interesting

and

intellectual

recreation.

I

have written the

greater

number

of

the

exercises

of

this first

part within a

moderate

compass, suitable

to

an

average

voice

if

required.

I endeavoured

to proceed gradually, from simple

forms

to

more difficult

ones.

I

have also

limited

the length

of

the

exercises

up

to

No.

XL

to

phrases of

two bars.

I

found

that

it

would tax

the

receptive

powers

of students

too

much by

pre-

senting

additional

new

matter

in

too

extended

examples.

The necessary

explanatory

directions and

theoretical

definitions

are

given

in connection

with each

separate

exercise

on

which

they bear.

I

have

endeavoured,

as far as it lay

in

my

power,

to

give of each

subject

contained in

this

part as

clear

and

concise a

theoretical

definition

as

possible. Students

when

facing

new

things

are not

yet

prepared

to

take

in

with

complete

understanding

learned

theoretical

dissertations

;

the

matter must be

presented

to

them in a simple,

lucid,

manner.

Although I am

aware

of the

fact that

a

certain

form

of

musical

dictation

is

used

in

connection

with

vocal

instruction

in

the

Paris

Conservatoire

and

in some

other

institutions,

I

am

sure

that

the

matter

has

never

yet been

worked

out

into

such

a

systematic

course

of

instruction

as

I have done

here

;

and

I

trust that in

this

form it

will

prove

interesting

and

instructive

to

those

students

who may

seek

enlightenment

on the

subject

of

which this work

treats.

Vassar

College,

June,

1886.

Note.

—

This

Work

can

be

advantageously

used

by

two

fellow

students

dictating

alternately

to

each

other

in

the absence

of

a teacher.



MUSICAL

DICTATION.

PART

I

EXERCISE

I.

ARRANGEMENT

OF

NOTES

AND

RESTS

INTO

MEASURES;

THE

DOT;

THE TIE OR BIND.

[Note.—In this Work

the notes are named after their

value,

thus : whole

note

(semibreve), half-note (minim),

quarter-note (crotchet), etc.

The

cor-

responding

rests

are

similarly

named.]

Direction.

—It

is

not

necessary

to

write the

different notes

and rests included

in

a

measure in exactly the

same

order

as

given

here

;

other

combinations being

in many

cases possible.

Division

of

time,

presenting

to

students great difficulties,

must

be

well

mastered.

These preparatory

exercises

do

not

need

to

be

played

;

they

may be written

on

any degree of the

scale.

Definition.

—The

dot

signifies that

the value

of the

note or

rest

preceding

it

is increased

by

its

half;

the dot

after

a dot

lengthens the

first

dot

half

its value. The

tie or

bind is

a

sign

that

connects

two

notes

of

the same pitch,

of

which

the

first

one

only

is sounded.

Those small

sections

of

a

musical composition,

indicated

on

the

staff

by

perpendicular

bars,

are

called measures

or

bars.

The

metrical contents

(see

Exercise

II.)

of

each

bar

or

measure

is

indicated

by

the

time

signature,

placed

at

the beginning

of

the

staff,

right

after the

clef*

A.

Duple

Measure.

—

Write

in

one

measure

§

§

:

—

i.

One

note.

2.

A dotted

note

and

a rest.

3.

Two rests

and a quarter-note on

the

third beat.

4.

Two

rests and a half-note on

the

second

beat.

5.

A

dotted

note

and

two

eighth notes.

6. Two notes

and a dotted rest.

7.

Two

notes

of

two kinds,

one

dotted, and a rest on

last

beat.

8.

Three

notes

of three kinds, a

dot,

and

a tie.

9.

Two

rests

and

two notes,

close

with

a

half-note.



10

MUSICAL

DICTATION.

10. Two

notes

of

two

kinds

and

a

rest on third beat.

ii.

Four

notes

and two dots.

12.

A

rest

and

two

notes

of

equal

value.

13.

Three

notes

of two kinds,

two

rests, one of

them dotted,

close

with

a

quarter-note.

14.

Four

notes

of

two

kinds, two rests, and two ties.

15.

Two rests of

two

kinds and two notes of two kinds,

close

with a quarter-note.

16.

Two

notes

of two kinds

and three

rests of two

kinds,

commence

with a

rest.

17.

Two

notes

and two

rests

of

equal value.

18. Three notes of two

kinds and

two rests,

commence and

close with a

rest.

19.

Three

notes

of two

kinds,

a tie, and

a rest to

begin with.

20.

Four

notes of two

kinds, begin with an eighth rest and

close with another rest.

B.

%:-

i.

One note.

2. Two

notes.

3.

Three

notes

of two kinds.

4.

Two

notes

of

two

kinds

and

a

dot.

5.

Three notes

of two kinds and

a

tie.

*

6.

Four notes of

two

kinds and

two dots.

7.

Two

notes

of

two kinds and an eighth

rest at

the

beginning.

8.

Two

notes of

two

kinds and

two

rests of

two

kinds,

close

with a sixteenth

note.

9.

One note on the

second

beat

and

two

rests of

two

kinds.

10.

Two

rests and

two notes of equal

value.

1

1. Three

notes

of

two

kinds and

a

rest.

12.

Four

notes

of

two

kinds

and two

rests,

begin

and

close

with

a rest.

13.

Four

notes

of

two

kinds

and

two

dots.

14.

Four

notes of

two kinds

and

two

sixteenth rests.

15.

Three

notes of

two kinds and

a

rest on second beat.

16.

Six

notes

of

two

kinds.

17.

Six

notes

of

two kinds

and

two rests,

begin

with

an

eighth

rest.

18.

Two

rests

of

two kinds and

two

notes.

19.

Two

rests

of

two kinds and

three

notes, begin with

quarter-

rest.

20.

Two

rests

and

one

note to

stand

on

second

beat.

C.

Triple

Measure

—

C 2

:

—

1.

One

dotted

note.

2.

Three

notes

of

two

kinds,

a tie,

and

a

dot.

3.

Four

notes

of

two

kinds.

4.

Four

notes

and

two

rests.



MUSICAL

DICTATION.

II

5.

Five

notes

of

two

kinds

and

a

dot.

6.

Quarter-rest and two notes

of two

kinds.

7.

Three

notes

of three

kinds

and

a

rest.

8.

A rest,

four

notes

of

two kinds, and

a clot,

commence

with

a

rest.

9.

A

rest

and

two

quarter-notes.

10.

Three

notes

of

two

kinds

and

a rest

on

second

beat.

11. One note

and

two rests, commence

with a rest.

12.

Five

notes of two kinds,

tie the first

two notes

and

close

with

a rest.

13.

Five notes

of three kinds

and

two

rests,

commence with

a rest.

14.

Six notes

of

two

kinds

and

half-rest.

15.

Four

notes

of two kinds and an eighth rest

at the

be-

ginning.

16.

Three

notes

with

corresponding

rests,

commence with

a rest.

17.

Four

notes

of

two

kinds, a

dot after

the

first

note.

18.

Six

notes

of

two

kinds

and three

dots.

19.

Seven

notes

of three

kinds,

tie

the first

two notes.

20.

Three notes

of

two kinds,

a

dot, and

a

rest

on

the

second

beat.

n

3

.

1.

Two notes.

2.

Two

notes and a

rest

on

the

second

beat.

3.

Two

notes

of

two

kinds,

a

rest,

and

a dot.

4.

Two

notes

of

two kinds

with

corresponding

rests,

close

with

a rest.

5.

A

rest, and two

notes

for

the last

beat.

6.

Three

rests

of

two

kinds

and

two

notes,

commence

and

close

with

a

rest.

7.

Two

rests and

three notes

of

two kinds, commence

with

a

rest.

8.

Two

notes

of two

kinds with

corresponding rests, com-

mence and

close

with

a

note.

9.

Four

notes

and two

rests.

10. A

rest, three

notes

of two kinds,

and

a

tie.

11.

Three

notes

of

two

kinds and

a

dot.

12.

Three

notes

of

two

kinds and an

eighth rest

on the

second

beat.

13.

Quarter-rest,

an

eighth

rest,

and

three

notes

of

two

kinds.

14.

Five

notes

of

three

kinds

and

an eighth rest

after second

beat.

15.

Five

notes of

three kinds, a

dot.

and

a

sixteenth

rest

at

the

beginning.

16. Three

notes and two

rests

of

two

kinds.

17.

One

rest

and

one note.



12

MUSICAL

DICTATION.

18.

Three

notes

of two

kinds and a

tie,

the

shortest

notes

to

occupy

one

beat.

19.

Four

notes

of three kinds,

one

note

double-dotted.

20.

A

double-dotted

rest and two notes of two kinds.

E.

3

•

8

•

1. Two

notes.

2.

Four

notes,

a

dot

after

the

first one.

3.

Two notes

and

a

rest at the

beginning.

4.

A rest

and

four

notes, one of them dotted.

5.

A

rest

and

a note

on the last beat.

6.

Two

rests,

and

a

note

forming

part

of the

last

beat.

7.

Three

notes

and

a dot.

8.

Three

notes

and a

sixteenth

rest.

9.

Five

notes.

10. Two notes

and a

sixteenth

rest on

the

first

beat.

11.

A

dotted

rest

and

three notes.

12. Two kinds of

rests.

13.

Two kinds of rests, a

dot,

and

a

thirty-second note

at the

end.

14.

Three rests of

two

kinds and two notes,

commence

with

a

rest.

15.

Three

notes

and a rest at

the

close.

16. Three notes

and two

rests

of

two kinds, commence

with

a

note.

17.

Six notes

and three dots.

18. Five

notes of two

kinds

and two rests, close with a rest.

19.

Two

rests

of two

kinds,

three

notes of three

kinds, a tie,

begin

and

close

with a

rest.

20. Five

notes

of two kinds

and

a tie,

place

four

notes

on the

last

beat.

F.

Quadruple

Measure

—

C |

:

—

1.

One note.

2.

Three

notes.

3.

Three

notes

of

two

kinds,

the first

one dotted.

4.

Two

rests

and

quarter-note on the

third beat.

5.

One rest.

6.

Two

rests of two

kinds,

and two

notes on the last

beat.

7.

One

rest

and

two

notes of

two

kinds.

8.

Three

notes

of

three

kinds,

and

an eighth rest

at the

beginning.

9.

Six

notes

of two

kinds.

10.

Five notes

of

two kinds.

1

1. Two

rests

and

three

notes

of

two

kinds.

12.

Three

notes of

three

kinds,

one of

them

dotted.

13.

Three

notes of

two

kinds

and

two

rests,

an

eighth

rest

to

stand

on the

second

beat.



MUSICAL

DICTATION.

13

14.

Five

notes of

three kinds

and two

sixteenth rests, com-

mence

with

an

eighth

note.

15.

Three rests

of

three kinds

and three notes of

two

kinds.

16.

Nine

notes

of

three

kinds,

close

with

quarter-note.

17.

Six notes

of two

kinds,

three

rests, commence

and

close

with

a

rest.

18.

Four

notes

of

three kinds,

tie the

first

two.

19.

Three

rests

of

two

kinds, two notes,

and

a

tie.

20.

Two

rests,

four

notes

and

two

ties,

open with

a

rest.

G.

|:-

i.

One

note.

2.

One

rest

and

two

notes.

3.

Two

notes

and two

rests.

4.

Three

notes

and

two rests.

5.

A dotted

rest and two notes

of two

kinds.

6.

Two notes,

the first

one double-dotted.

7.

Two

rests

and

two

sixteenth

notes.

8.

Three notes

of two

kinds and

two rests.

9.

Three

notes of two kinds, one

of

them double-dotted.

10.

One-sixteenth

note

and

three

rests.

11. Two

notes

and

three

rests.

12.

Three notes of

two

kinds,

a

dot, and

a

tie.

13.

One

rest.

14.

Two

rests

of

two

kinds and

one

note.

15.

Two

rests and three

notes of

two

kinds,

open with

an

eighth rest.

16.

Four notes and two

rests.

17.

Six

notes of

two

kinds.

18. Six

notes

and

two

rests, one

of

these

dotted, open with

a

thirty-second

rest.

19.

Five notes

of

two

kinds,

two rests,

and a tie from the

first

to the

second note.

20.

Four

notes of

two kinds, and a

dotted

rest on

the

second

beat.

H.

Compound

Duple

Measure

—

f

:

1.

Two notes

with

dots.

2.

Four

notes

and a tie.

3.

Three notes of

two kinds and

two rests,

a

quarter-rest

on

the first beat.

4.

One

rest and one

note, the

note having

the

greatest

value

of the

two.

5. Four

notes

of three

kinds,

a

tie,

a dot,

and

a quarter-rest

at

the beginning.

6.

Five

notes of

three kinds,

dot

the

first,

and

tie

it

to

the

second.

7.

Three notes

of

three

kinds,

dot

the last,

and open with

two

rests

of

two kinds.



14

MUSICAL

DICTATION.

8.

A

rest, three

notes

of

three

kinds,

and

a dot.

9.

Four

notes

of

three kinds,

one

of

them

double-dotted.

10.

Two

rests, one

of

them dotted, and close

with

a quarter-

note.

11.

Five

notes

of two

kinds and a

rest.

12.

Three

notes

of

two

kinds and

two

rests.

13.

Five notes, one of

them

dotted,

and a rest at the beginning.

14.

A quarter-note,

a

dotted

eighth

note,

and

three

rests

of

two kinds, commence

with a

rest

and

close

with a

sixteenth

note.

15.

Six notes

of three

kinds,

and an

eighth

rest

at the

begin-

ning.

16.

Six notes

of

two

kinds, a

dot,

and

quarter-rest

on

the

fourth

beat.

17.

Two

notes

of

two

kinds with corresponding

rests,

com-

mence and

close

with a rest.

18. Nine notes

of

three

kinds, two dots, and

close

with

a quarter-

rest.

19.

Five

rests of three kinds

and two

notes.

20. Two notes.

I

6

.

I.

8

.

i.

Three

notes

and a dot.

2.

Three

notes

and

two

eighth rests.

3.

Three notes,

a dot,

and

a

tie.

4.

Three notes,

a

dot,

and

an eighth rest at the

beginning.

5.

Two eighth

notes and

three

rests, begin and

close with

a

rest.

6.

Three

rests

and

an

eighth at the close.

7.

Four

notes

of

three

kinds,

a

dot,

and an eighth

rest

at

the

beginning.

8.

Five

notes

of

three

kinds,

a

dot,

and

an

eighth

rest

on

the

fifth

beat.

9.

Four

notes of

two

kinds,

and

three rests, begin with

a

rest.

10.

Two

rests,

one

note, and a dot.

II.

Eight

notes of two kinds, a dot,

and

a

tie.

12.

Four

notes

of

three

kinds, a

sixteenth rest,

and

an

eighth

rest

at

the close.

13.

Four

notes, a

dot,

and

a tie.

14.

Two notes,

and three rests

of

three

kinds,

commence

with

a

sixteenth

rest.

15.

A

sixteenth note,

a

quarter-note, and

three rests.

16. Six

notes

of

two kinds, and three

rests of

two

kinds.

17.

Four

notes of three

kinds, a tie,

and two rests,

commence

with a rest.

18.

Six notes of two kinds, and two

rests.

19.

Five

notes

of

three kinds,

two

dots,

and

a

tie.

20.

Four

notes

of

two

kinds,

two

rests,

and a

dot,

begin

with

a

rest.



MUSICAL

DICTATION.

15

J.

Compound

Triple

Measure

—

§

:

—

1.

Four

notes,

two

dots,

and a

tie.

2.

Four

notes

and

two

eighth

rests.

3.

Three

notes

of two

kinds,

a

dot,

and an

eighth rest at the

beginning.

4.

Five

notes

of

two

kinds, a

dot,

and a

quarter-rest at

the

beginning.

5.

Three

rests of

two

kinds,

two notes of

two kinds,

and

a

dot.

6.

A

dotted rest

and

three notes.

7.

Six

notes

of

three

kinds, a

dot,

and

a tie.

8. Three notes

of

two

kinds,

four

rests,

and a

dot.

9.

Five notes,

a dot,

a

tie, and

an eighth rest

at

the

close.

10.

Four

notes

of

two

kinds,

a

dot,

and

a

tie.

11.

Four notes

of

three

kinds,

two

eighth rests, and a

tie,

begin

with

a

rest.

12. Six notes of

three kinds

and two dots.

13.

Five

notes, four rests

and a tie.

14.

Two

notes, a

dot,

and

four

rests of

two

kinds.

15.

Four

notes of

three kinds, a

tie, and

four

rests

of two

kinds,

commence and close

with

a

rest.

16. Seven

notes and three

rests, begin

and close with

an

eighth

rest.

17.

Five

notes

of three

kinds

and

four

rests

of

three

kinds.

18.

Three

dotted

notes

and two ties.

19.

Three

rests of

two

kinds,

a

dot,

and an

eighth

note

on

seventh

beat.

20.

Six

notes

and

four

rests, commence

and

close

with

a

rest.

K.

Compound

Quadruple Measure

—

q

:

1.

Three

dotted

notes and

a

tie,

2.

Two

notes

of

two kinds, three rests'

of

two kinds

and

two

dots.

3.

Four notes of

three

kinds, one

rest

and

three

dots.

4.

Seven

notes

of three kinds,

three of

them

dotted.

5.

Six notes,

two

eighth

rests,

a

tie and

a

dot, commence

with

a

rest.

6. Four

notes

of

two kinds,

a dot, and two rests of two

kinds,

close

with a

rest.

7.

One

rest

and

one dot.

8.

Five notes of three

kinds,

a dot and

five rests.

9.

Four

rests

of two

kinds,

four notes

of

two kinds

and a

dot.

10.

Four

rests of

two

kinds,

one

dotted note, rests

at the

beginning and close.

11.

Nine

notes

of

three kinds,

a dot,

a

tie,

and two

rests

of

two

kinds.

12.

Four

notes

of

three

kinds,

a

dot, a

tie,

a

dotted

rest,

and

an

eighth

rest

at

the

beginning.



iG

MUSICAL

DICTATION.

13.

Eight

notes

of

two kinds,

two

eighth

rests,

a

dot,

and

two

ties.

14.

Five

notes of three

kinds,

two

eighth rests,

and a

tie.

15.

Six

notes of

two kinds,

a dot, and four

notes

of

two

kinds,

commence

with

an

eighth

note.

16. One

dotted

note.

17.

Six

notes

of three

kinds,

a

dot,

a

tie,

a sixteenth rest after

the

first

note,

and

two eighth

rests

at

the

close.

18

Six notes

of three

kinds,

two

dots,

and

a

tie,

commence

with

dotted

eighth

rest.

19.

Seven

notes of

three kinds,

a

dot,

a

tie,

and

two rests.

20. Five notes

of three kinds,

a

tie, and two dots.

A.

I

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22 MUSICAL DICTATION,

EXERCISE

II.

THE INTERVAL

OF

THE

SECOND;

MOTIVES;

METRE;

RHYTHM;

ACCENT.

Definition.

—

An

Interval is the

distance

between

any

two

notes.

I

have

limited

myself

in

the exercises

of this first

part

of

dictation to the

naming of

the

intervals

as

found

in

their

general

fundamental alphabetical order within

the

scale,

viz:

the

second,

the

third,

the fourth, the

fifth,

the

sixth,

the

seventh,

and

the

octave. A

more

exact

classification

of

all the

different

measured

intervals,

resulting

from

alterations

of

the

above fundamental

intervals,

will

be

given

in the

second Part.

Motive,

germ of musical

development,

is

a

group

of

notes

arranged

according

to

a

certain fixed

rhythm

;

it

may

occupy

a

whole

bar

or

part of a

bar.

Metre,

in

music,

signifies

the peculiar

arrangement

of

fixed

sounds

into measures, distinguished by natural

dynamic

accents,

called

grammatical accents.

Rhythm

is

the motion of fixed

sounds

within the

measure.

Metre

is

represented

by

the

figures

i,

2

;

1,

2,

3

;

1,

2, 3,

4;

1,

2,

3,

4,

5,

6,

etc.,

indicating

the kind of

measure

or

time

in

each

case.

Rhythm

is

represented by a number

of

notes regulated

by

metrical

accent, viz.:

Duple time,

\;

quadruple time,

j

•

0'

;

triple time,

compound

triple

time

compound

duple

time.

•

f

*

I,

or

•

I

/I

The

metrical

accent,

in a

general sense, governs

the

measure

;

the

rhythmical

accent

the

motive.

Hauptmann

calls

positive

accent

the

first

beat,

down

beat, at the

beginning

of

a

piece,

m

;

and

negative

accent

the

one following

the

up-beat,

9

•

(See

Exercise

IV).

Directions.—

Play (dictate)

these

exercises

rather

slowly, and

observe

the natural metrical

accent

belonging

to

each

kind

of

measure.

The

effect

of the

different rests must

be

strictly

observed.

Write

the

exercises

in the

treble

clef.

Dictate

each

example

once,

and

then let the student write

it

down in the

best

manner

possible

;

afterwards

play

the written-

down

examples

slowly and

distinctly, and

write

after it the model



MUSICAL

DICTATION.

23

example

as

dictated,

in

order

to

give the

student an

opportunity

to

compare

his

or her

own

writing

with

the

version

of

the

model

example,

and

to

correct

possible

mistakes.

This

practice,

while

teaching

students

to

examine

their

own

work

with

critical

atten-

tion,

will

also

promote a

sense

of

accuracy.

Instead

of

playing

these

dictations

invariably

on

the

pianoforte,

sing

them

sometimes

to

the

syllable

la

;

or

play

them

on

the

violin,

or

on

any

other

suitable

instrument

that

may

be

handy.

All

such

varieties

of

tone

production

will

help

to

foster the

student's

faculty

of

perceiving

tones

of

different

colour.

I

have

written

the

examples

up

to

Exercise

XI.

in

the

key of

C.

It

will

be

good

practice

to

dictate

some

of

them

transposed

into

other

keys

in

order

to

test

student's

sense

of

pitch.

Students

ought

to

make

efforts

to

memorize

the effect

of

the

sounds

of

the

different

intervals

as

gradually

introduced here

in

each

successive

exercise.

Pick

them

out on

the

keyboard

and

learn

to sing

them

in

your

mind.

Such

private

practice will

help

greatly

to

promote

understanding

and

progress

regarding

our

task.

Indicate

at

first

the

time

of

each

example

to be

dictated.

^

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20

USICAL

DICTATION.

EXERCISE III.

PHRASES;

THE

INTERVAL

OF THE

THIRD.

Definition.

—The

Phrase is a

part

of a musical sentence

or

period.

It

consists

generally of

two

measures, and

is formed

either of one

motive

repeated

or

of

two separate

ones. The

Leitmotive

(leading

motive), which occupies

such

a conspicuous

place

in

Wagner's

Music Dramas, has generally

the form

of

a

phrase.

A

phrase

may

consist of three

and

even

four

measures.

Direction.

— Let

the

student now and then

indicate

the

class

of time

to

which

the dictated

example

belongs, e.g., whether

it

is

in

duple

or triple

time

;

select simple examples

for

that purpose.

EXERCISES.

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MUSICAL

DICTATION.

31

EXERCISE

IV.

PHRASES THE

INTERVAL

OF

THE

FOURTH

BEATING

TIME.

THE

UP-BEAT;

Definition.

—The

up-beat

is part

of a

measure,

the

unaccented

beat

at the

beginning

of

a

piece, or part

of a

piece

;

it

belongs

to

the

opening

motive.

Its

name is derived

from

the

modern

manner

of

beating

time,

the

first

beat

(Thesis)

being

distinguished

by the falling

of

the

hand

;

the second,

or last

beat,

as

the

case

may

be

(Arsis), by

the

raising

of the hand.

The

different

manners of beating time are

:

Two

in a

Bar.

Three

in a

Bar.

2

Up

«

^

3

Up

OR

Down

Four

in

a

Bar.

4

UP

Down

™»»

Six

in

a

Bar.

^ ~

Right

1

Doivn

Direction.

—

With

the introduction

of

the fourth,

and

after-

wards

with

that of

every new

interval,

it

will

be advisable

to

dictate, in the following

form,

preparatory

exercises

on

intervals

already

introduced

in

previous

dictations,

in order

to

test

students'

memory, and

to

afford them

an

opportunity

to

learn

to

measure

by

ear,

the

distance

of

each

one of

the different

intervals.

Such

preliminary

exercises

do not

need

to be written

down

;

it

will

suffice

to

play them, and have students

fix their names,

viz.

:

m

^

fe

H^



32

MUSICAL

DICTATION.

EXERCISES.

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MUSICAL

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36

MUSICAL

DICTATION.

EXERCISE

V.

PHRASES;

THE

INTERVAL

OF

THE

FIFTH; SYNCOPATION.

Definition.

—

Syncopation

signifies

the

union

of up-beat

and

down-beat

(Arsis

and

Thesis),

or

an

unaccented

part

with

an

accented

one

; by

this

operation

the

accent is

transferred

from

the

accented

part to

the

unaccented

one

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EXERCISES.

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4

o

MUSICAL

DICTATION,

EXERCISE

VI.

PHRASES;

THE

INTERVAL OF THE

SIXTH;

TRIPLETS.

Definition.

—

The

triplet

is a group

of

three

notes

of

equal

value

played

or

sung

within

the

time

occupied

by

two

notes

of

the

same

kind,

viz.

:

I

3

I

tnn—

t

flilg^^

= =

I

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EXERCISES.

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44

MUSICAL

DICTATION,

EXERCISE

VII.

PHRASES;

THE

INTERVAL OF

THE

SEVENTH.

Direction.

—

Intersperse

this,

as

well as

Exercise

VIII.,

with

some

of

the

previous

dictations.

Systematic

repetition

and

reviewing

of

former

tasks

will

facilitate the

understanding

of

new and

more

difficult matter.

fedbJ^

aeg

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8

MUSICAL

DICTATION.

EXERCISE

VIII

PHRASES;

THE

INTERVAL

OF

THE

OCTAVE

SCALE

SIGNATURE

OF KEY.

DIATONIC

Definition.

—

The

octave

is in

one sense

the

close

of

the

suc-

cession

of tones

forming

the

diatonic

scale, and

in

another,

the

beginning

of

a

new

series

similar

in

construction

to

the

first.

It

is

also

the

repetition

eight

degrees

higher

or

lower,

as

the

case

may

be,

of

any

note.

The

diatonic

scale

commencing with

C

and

ascending

on

the

white

keys

of

the

pianoforte to

the next

C

is

the

prototype

of the

major

keys

or

modes.

It

is

composed

of

five

tones

and

two

semitones,

these

latter

occurring

between the

third

and

fourth

and

the

seventh

and

eighth

degrees.

Each

one of

those

twelve

keys

comprised

between

C

and

its

octave

can

be

made

the

funda-

mental

note

—

the

keynote or

tonic

—

of a major

scale, by

taking

as

model

the above

construction

of

the

C

major scale,

using,

in

order to

get

the

right

succession

of

tones

and

semitones, sharps

or

flats

(see

Exercise

IX.),

as

the

case

may

require.

Those

sharps

or

flats necessary

for the construction

of

each

respective

scale

are placed

at

the

beginning

of

the

staff,

between

the

clef

and

the

time

signature,

and are

called the

key

signature.

Sharps,

when

used

as

signatures,

are placed in

the following order

:

From

F:jt,

being the

first, descend four

degrees

in alphabetical

order,

then ascend

five, descend

again

four,

and

ascend five,

etc. ;

when flats

are

used,

commence

with

Bl^,

and proceed

in

the contrary

direction

to

that

of

the sharps.

The different

degrees

of

the

diatonic scale

are

also

designated

by the

following

terms

Tonic.

Super-tonic.

Mediant.

Sub-dominant.

Dominant.

Sub-mediant.

Leading

note,

or

sub-tonic.

•Form

major scales

on

the different tone

degrees

i

st

degree

2nd

3rd

4th

5th

6th

7th

DlRECTION.-

found

within

an octave.

H

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MUSICAL DICTATION.

49

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EXERCISES.

2

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MUSICAL DICTATION.

53

EXERCISE

IX.

PHRASES;

CHROMATIC

SIGNS OR

ACCIDENTALS;

CHROMATIC

SCALE.

Definition.

—

Accidentals

are the sharp

J,

the

double

sharp

x

,

the

flat

b,

the double flat

b ?,

and

the

natural

t(.

The

$

raises

the

note

a

semitone

;

the

x

two semitones

;

the

I?

lowers

it a

semi-

tone

;

the

l?t?

two

semitones

;

the

tf

has

two

functions

:

that

of a

flat

if

it

takes

away

the sharp,

and

vice

versa

if

it

destroys

the

flat.

Accidentals

are

called chromatic

signs

when

they

occur

in the

course of a piece,

altering

temporarily

the

pitch

of a

note

without

changing

its

alphabetical name.

The chromatic scale

is a

succession

of semitones.

Direction— It

is customary,

when

writing

the

chromatic scale

or

chromatic

passages ascending,

to use sharps

or naturals

as

the

case

may require

to

raise the

pitch

;

and when

descending,

flats

or

naturals

to

lower

the

pitch

of

chromatic

notes.

i

EXERCISES.

2

J

|

J

b^h

^g^

:

m

11 r

^

JuJS

t

353$

3F3

9

10

ii

m

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54

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PI

MUSICAL

DICTATION.

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DICTATION.

57

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58

MUSICAL

DICTATION.

EXERCISE

X.

PHRASES IN

MAJOR

AND

MINOR KEYS; MINOR

SCALE.

Definition.

—

From

each

major

scale

a

minor

scale

is formed

by

lowering

the

third

and the sixth degrees of the major

half

a

tone

each.

However, cases

occur

when

the sixth

of the

minor

scale

ascending

to the

octave

of

the keynote is

similar

to that

of

the

major

scale.

The

semitone

step

from the seventh, the leading

tone,

to

the

octave,

is

essential

both

to the

minor

and

major

scale.

A

passage

is

called diatonic

when

it

is

derived from

a diatonic

scale,

i.e.,

composed

of tones

and

semitones

;

chromatic

when it

is

composed

of

semitones.

Remark.—

The

above manner of

construction of

the

minor

scale

will

fully

answer

our

present

purpose.

Direction.—Change

major scales,

as found

in connection

with

Exercise

VIII.,

into minor scales

;

notice

the

characteristic

marks of

the minor scale,

viz.

: the

third,

the sixth,

and

the

leading-note.

EXERCISES.

2 3

<}S

c,

j

j

j

J=^M

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^¥^

ptJ

te±^&

m

+j

p

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i

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II

I

11

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+

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12

13

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MUSICAL

DICTATION.

59

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62

MUSICAL

DICTATION.

EXERCISE XL

SECTIONS;

PERIODS;

SEQUENCE.

Definition.—

The

period

is

a

melodic form which,

by means

of

a

certain

metrical and

rhythmical

arrangement

of tones,

con-

stitutes

a

complete

musical sentence.

The

subject-matter

of

the

period

is derived

from

motives growing into phrases,

phrases

expanding

into sections

;

a

section

may include

two

or more

phrases

;

two

sections

generally

form

a

period. The

close

of

a

period

is

marked

by

a

return

to

the

fundamental

note

of the

key.

I

have limited

myself in

these

exercises to

periods

of

four

and

eight

bars

;

more

complicated

ones

will find

a

place

in

the

Second

Part

of

this

work.

Remark.

—

There

exists

still

a good deal

of

confusion

regarding

the form

of

construction

of a

period.

Some

writers

draw

the

limits

of

the

period at

eight bars,

and yet there

exist

distinctly

constructed

periods

consisting

of four

measures

;

in

such

cases

two

phrases

are contracted

into

a

short period.

If, as is

generally

admitted, the close

of a

period

is

marked by

a

perfect

cadence,

then

the following

example, the opening

subject of

the

Larghetto

of Mozart's

beautiful

Pianoforte

Quartet in

E flat,

must

be

classed among

periods. No

other explanation

is

possible regard-

ing

this and a

number

of similar

constructions.

The

Andante

of

Beethoven's fine

Sonata

in

E

flat,

Op.

27,

is

based

on short

periods

of four

bars

each.

Larghetto.

Mozart.

mrry-rjj

f^

Definition.

—

The

sequence.

The

repetition

of

a

model

motive

or

phrase, on other

degrees

of

the

scale,

is called

a

sequence.

The

sequence is

called

real

when

the

repetition

follows strictly

the

construction of

the

model,

i.e.,

when

the

progression

of

similar tone-degrees

is

strictly

adhered

to

; tonal, when the

repetition

is

merely

the general

imitation of the

rhythmical

form

of the

model, i.e., the step

of a

second, etc.,

may be

changed

into

that

of any

other interval.

Real.

Tonal.

i^i

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MUSICAL

DICTATION.

63

EXERCISES.

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66

MUSICAL

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72

MUSICAL DICTATION,

EXERCISE

XII.

PHRASES,

SECTIONS,

AND

PERIODS EXTRACTED

FROM THE

WORKS OF CLASSICAL COMPOSERS; MOTION; TRANSITION.

Definition.

—

Motion

governs

time;

every composition

is

characterized by a general

motion

of

time indicative of

a

certain'

state of

emotional life and expression.

All

the different

shades

of

this

inner emotional life are thus, in a general

way,

revealed

by

sounds

regulated by

motion

;

hence

a

great

variety

of motion-

gradations. Each piece

or

part

of a piece

is,

according

to

its

emotional

character, governed

by

a certain

chief

motion.

These

different gradations of

motion are

indicated

by Italian

words

accepted in musical practice

by

long

tradition. These

words

have

a double

meaning,

viz.

: time and

emotional expression.

The

chief

gradations of

motion are

:

Largo

Very

slow.

Adagio

Slow.

Lento

Slow,

lingering.

Larghetto

Rather

slow.

Andante

Moderately slow.

Andantino Somewhat faster.*

Moderato

Moderate.

Allegretto

Rather lively.

Allegro

.

Fast, cheerful.

Vivace

Lively.

Presto

Very

quick.

Prestissimo

As

fast

as possible.

There

are

subdivisions

of

all

those

separate

grades

of

motion

:

these

as

well

as

special

signs

of

expression

and phrasing

will

find

a

place

in

the

Second

Part of this

work.

Directions.

—

Indicate

the

key of

each of

the

following ex-

amples,

and

then

let

student

find

the

pitch. Pay

attention

to

the

grade

of

motion

governing

each

fragment. When

this

station

of

the

course

of

dictation

is

reached, it

will

be

easy,

if

desirable,

to

find

in the

works

of good

composers

additional

examples,

viz.

:

motives,

phrases

and

periods.

Students

will

also

find

it

now

very

instructive by

endeavouring

to

pick

out

by

themselves,

from

compositions they are

studying,

distinct periods

composed

of

eight

or four

measures,

as

the

case

may be,

and

to

point

out

motives,

phrases,

sections

and

sequences.

*

Some

writers take

this

slower

than

Andante,

but

judging

from

the

character

of

Mozart's

and

Beethoven's

Andantino,

it is

decidedly

faster

than

Andante.



MUSICAL

DICTATION.

73

Remark.—

A

passage

leading

from

one

period

to

another

is

called

transit

ion.

Students

will

now

be

prepared

to

form

periods

with

some

previously

dictated

simple

phrases.

Sure

progress

and

real

understanding

will

be

promoted

by

the

continual

exercise

of

your

own

ingenuity

governed

by

rational

rules

deduced

from

acknow-

ledged

classical

compositions.

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MUSICAL DICTATION.

8

7

LIST

OF

WORKS

FROM WHICH THE

FRAGMENTS

OF

EXERCISE

XII.

ARE

TAKEN.

Ex Title of

Wori

Composer.

Ex.

Title

of

Work

Composer

1.

Sonata,

No.

15

Mozart.

49.

Sonata, No.

12

Mozart.

2. No.

13

,,

50.

„

No.

1 Haydn.

3-

No. 8

,,

5i-

Trio,

Op.

1 ... ...Beethoven.

4

Rondo

...

,,

5

2

-

Sonata, Op.

134

...

Schubert.

5-

Fantasia

55

53-

„

No.

5

Haydn.

6.

Sonata,

No.

4

54-

Rondo

...

Clementi.

7- „

No.

18

55

55-

Sonata, Op.

27

..Beethoven.

8.

String

Quartet

in

G

...

„

56.

Sonata,

Op. 49

55

9-

Sonata,

No.

7

Haydn.

57-

,,

Op.

2,

No.

5

...

,,

10.

„

No. 10

5>

58.

Septet,

Op.

20

55

11.

No.

1

,,

59-

Ninth Symphony

55

12.

Symphony,

No.

2

,,

60.

Gavotte

...

Handel

13.

No.

5

...

,,

61.

Subject

of a

Fugue

55

14.

No.

6

...

55

62.

55 55

55

*5-

Sonata,

Op.

49

Beethoven.

63.

Child's Song

...

Mozart.

16.

„

Op.

2,

No.

1...

55

64.

Oberon

Weber

*7« ,,

Op.

2,

No.

3...

65.

Faust

.,.

Gounod

18.

„

Op.

10

55

66.

Tannhauser

...

Wagner

19.

Bagatelle,

Op.

33

55

67.

Impromptu

... Schubert

20.

Trio,

Op.

1,

No.

3

...

55

68.

Valse

...

55

21.

Thema,

Op.

17

Mendelssohn.

69.

Minuet

Bach.

22. Lied ohne Worte,

Op.

19,

No.

4

J

70.

55

,,

55

7

1

-

Gigue ...

55

23-

,,

Op,

30,

No.

1...

,,

72.

Bourree

55

24.

„

Op.

38,

No.

2...

55

73-

Echo

55

25-

„

Op.

53,

No.

1...

,,

74-

Tambourin

...

Rameau.

26.

„

Op.

85,

No.

5...

15

»

75-

Rigaudon

,,

27.

Album

fiir

die

Jugend

1

Op.

66,

No.

1

J

Schumann.

76.

Sonata

in

C

Minor

Wolfle.

77-

Caprice

IV.

...

Miiller,

A.

E.

28.

N0.3...

55

78.

Sonata,

Op.

41

...

Steibelt.

29.

,,

No.

11...

79-

Op.

39

Weber.

30.

„

No.

10...

80.

Caprice

V

Miiller,

A. E.

31.

„

No.

ig...

55

81. Sonata,

E|?

Major

Cramer

32. No.

28...

82.

,,

Op.

22

...

Clementi

33-

Overture,

Paradise

\

and

the

Peri

J

83-

Andante

Bach,

J.

Ch.

55

84.

Gipsy

Sonata

Lowe

34-

Warum,

Op.

12

55

85.

Suite,

Op.

31

...

Bargiel

35-

Lohengrin

Wagner.

86.

Sonata,

Op.

5

...

Brahms.

36.

,,

55

87.

„

Op.

41

...Rubinstein.

37-

Meistersinger

55

88.

Jagdlied,

Op.

77

...

Reinecke

38,

39.

Parsifal

)5

89.

Tema,

Op.

17...

Kiel

40.

Fugue

subject

from

~)

90.

Walzer,

Op.

39

Brahms

the

Well-Tempered

V Bach.

91.

55

55

»»

Clavichord

...J

92.

Serenade,

Op.

35

...Jadassohn

41.

55 >; >» 93-

Subject

of

a

Fugue

Mendelssohn

42.

)i

>>

9i-

Serenade,

Op.

35

...Jadassohn

43-

,

95-

Fantasie-Stiick,

Op

2

Saron

44.

55

51

,

96.

Harmonies

Poetiques )

Ligzt

et

Religieuses)

45- 55 ,,

,

46.

55

55

,

97-

55

55

55

47-

»5 55

,

98.

Fanfare

...

Couperin

48.

55

55 5 99.

La

Manon

,,



88

MUSICAL

DICTATION.

Ex.

Title

of

Work.

Composer.

Ex.

Title

of

Work.

Composer

IOO.

Rondo

Bach, Ph.

E.

IJ

5-

Mass

in

E

Flat

...Novello,

E

IOI.

I02.

Sonata

in

C

Minor

,,

Minuet

...

,,

116.

Short

and

Easy

| c u

Pieces

for

the

Organ

J

bmart

'

H

IO3. Gigue

,,

117.

Postlude

...

...

„

IO4.

Rondo

...Beethoven. 118.

Gavotte

...

Saint

Saens

IO5.

Landlicher

Tanz

•

•

•

11

119.

Allegretto

grazioso ...

Tours,

B

106.

>)

>»

•1

120.

Anthem

Macfarren

IQ7-

5)

>1

,,

121.

Pieces for

the

Organ

1

n

,

Op. 22

j

tjade

108.

The

May

Queen

Bennett.W.

S.

iog.

>»

»>

j)

122. Voluntary

Calkin

no.

>»

i»

»>

123.

Sonata

in

D

Major

...

Schubert.

in.

Lilliburlero

...

...Purcell,

H.

124.

Op.

164

...

„

112.

3-

Rigadoon

Gavot...

...

Dr. Blow.

125.

Chorus from

the

)

„ ,

,

Messiah )

Handel

«

114.

Sonata

...

Scarlatti.

INDEX

OF

SUBJECTS

TREATED IN

THIS

PART.

Accent,

grammatical.

„

metrical.

,,

negative.

,,

positive.

„

rhythmical.

Accidentals.

Bars.

Beating

Time.

Chromatic

Scale.

Diatonic Scale.

Dot.

Intervals.

Italian

Terms indicating

motion.

Keynote.

Leading-note.

Leitmotive,

Major.

Measures.

Metre.

Minor.

Motion.

Motive.

Names of the

degrees

of

the

Scale.

Octave.

Period.

Phrase.

Rhythm.

Section.

Sequence.

„

real

,,

tonal.

Signature

of

Key.

of

Time.

Syncopation.

Time,

different kinds

of

Tie.

Tonic.

Transition.

Triplet.

Up-beat.



ORATORIOS,

&c— Continued.

W.

CROTCH.

Palestine

W.

H.

CUMMINGS.

The

Fairy

Ring

•

W.

G. CUSINS.

TeDeum

FELICIEN

DAVID.

The

Desert

(Male

Voices)

P.

H.

DIEMER.

Bethany

Lazarus

M.

E. DOORLY.

ANTONIN

DVORAK.

St.

Ludmila

Ditto

(German

and

Bohemian

Words)

The

Spectre's

Bride

Ditto

(German

and Bohemian Words)

Stabat

Mater

Patriotic Hymn

Ditto (German

and Bohemian

Words

A.

E.

DYER.

Salvator Mundi

HENRY

FARMER.

Mass

in

B flat (Latin and

English)

MYLES

B.

FOSTER.

The

Angels

of

the

Bells (Female

Voices)

The Bonnie Fishwives

(ditto)

The Lady

of

the

Isles

NIELS

W.

GADE.

Psyche (Sol-fa, is. 6d.)

Spring's

Message

(Sol-fa,

3d.)

Erl-King's

Daughter

(Sol-fa,

gd.)

ZlON

The

Crusaders

(Sol-fa,

is.)

Comala

Christmas

Eve (Sol-fa,

4d.)

HENRY

GADSBY.

Lord

of

the

Isles

(Sol-fa,

is.

6d.)

Alcestis

(Male

Voices)

Columbus

(Male

Voices)

G.

GARRETT.

The

Shunammite

A.

R.

GAUL.

Joan of Arc

(Sol-fa,

is.)

Passion

Service

Ruth

(Sol-fa, gd.)

The

Holy City

(Sol-fa, is.)

FR.

GERNSHEIM.

Salamis.

A

Triumph

Song

(Male Voices)

Philippi

F.

E.

GLADSTONE.

Orpheus

(Act

II.

GLUCK.

HERMANN

GOETZ.

Bt

the

Waters of Babylon

(Psalm

137)

Ncenia

The

Water-Lily

(Male

Voices)

s.

d.

3

o

1

6

2

6

)

3

2

6

4

o

4

o

2

6

2 6

2 6

2

O

2

6

1 6

2

6

CII.

GOUNOD.

s

.

d

.

Mors

f.t

Vita

(Latin

ok

Knci.ish)

Ditto,

Sol-fa

(Latin

and

Knolish)

2

o

The

REDEMPTION

(English

Words)

5

Ditto, Sol-fa

Ditto

(French

Words)

H

4

Ditto

(German

Words)

1

Messe

Solennelle

(St.

Cecilia)

1

Communion

Service

(Messe

Solennelle)...

i

6

Troisieme

Messe

Solennelle

2 6

De

Proiundis

(Psalm

130)

(Latin

Words).

1

o

Ditto

(Out

of Darknlss)

i

The

Seven

Words

of

Our

Saviour

1

o

Daughters

of

Jerusalem

1

Gallia

(Sol-fa,

4d.)

1

C. H.

GRAUN.

The

Passion

of

Our Lord

(Der

Tod

Jesu)

2

Te

Deum

2

J.

O.

GRIMM.

The

Soul's

Aspiration

...

1

HANDEL.

Semele

The

Passion

The

Triumph

of

Time

and Truth ...

Alexander

Balus

Hercules ...

Athaliah

Esther

Susanna

Theodora

Belshazzar

The

Messiah,

edited

by

V.

Novello

The Messiah,

ditto.

Pocket edition

... 1 o

The

Messiah,

edited

by

W.

T.

Best

...

2

Israel

in

Egypt,

edited

by

Mendelssohn

2

Israel

in

Egypt, edited

by

V.

Novello.

Pocket

Edition

1

Judas

Maccabeus (Sol-fa,

is.)

2

o

Judas

Maccabeus. Pocket

edition

1

Samson

2

Solomon

2

o

Jephtha

2

o

Joshua

2

o

Deborah

2

Saul

2

Chandos Te Deum 1

Dettingen Te

Deum 1 c

Utrecht

Jubilate

1

c

O

praise

the Lord with one

consent

(Sixth

Chandos

Anthem) 1 c

Coronation and

Funeral

Anthems.

Cloth

5

c

Or,

singly

The

King shall

rejoice

o

8

Zadok

the

Priest o

3

My

heart

is

inditing

o 8

Let thy

hand be

strengthened

6

The

ways

of

Zion

1

o

Alexander's

Feast

2

c

Acis

and

Galatea

1

o

Ditto,

New

Edition,

edited

by

J.

Barnuy i

o

Ditto,

ditto, Sol-fa

1

o

Ode on St.

Cecilia's

Day

1

L'Allegro

2

HAYDN.

The

Creation

(Sol-fa,

is.)

2

o

The

Creation.

Pocket

edition

1

o

The

Seasons

(Each

Season,

singly,

is.)

...

3

°

First

Mass

in

B

flat

(Latin)

1

Ditto

(Latin

and

English)

1

o

Second

Mass

in

C

(Latin)

1

o

Third

Mass

(Imperial)

(Latin

and

English) i

o

Ditto

(Latin)

1

o

Sixteenth

Mass

(.Latin)

1 6

The

Passion; or,

Seven

Last Words

...

2

Te

Deum

(English

and

Latin)

1

o

Insan.e

et

Van^e

Cur-e

;Ditto)

o

4



ORATORIOS,

&c—

Continued.

EDWARD

HECHT.

Eric

the Dane

O

may

I

join

the Choir

Invisible

GEORGE

HENSCHEL.

Out

of

Darkness (Psalm

130)

HENRY

HILES.

Fayre Pastorel

The Crusaders

FERDINAND

HILLER.

Xala and Damayanti

A

Song

of

Victory

HEINRICH

HOFMANN.

Fair

Melusina

Cinderella

Song

of

the Norns (Female Voices)

HUMMEL.

First Mass

in B

flat

Communion Service,

ditto

Second

Mass in

E flat

Communion

Service, ditto

Third

Mass in

D

Communion

Service, ditto

Alma Virgo

(Latin

and

English)

Quod

in

Orbe

(ditto)

F.

ILIFFE.

St.

John

the Divine

W. JACKSON.

The

Year

A.

JENSEN.

The Feast

of Adonis

C.

WARWICK

JORDAN.

Blow ye

the

trumpet

in Zion

J.

KINROSS.

Songs in

a

Vineyard (Female

Voices)

Ditto,

Sol-fa

H. LAHEE.

The

Sleeping

Beauty (Female

Voices)

Ditto,

Sol-fa

LEONARDO

LEO.

Dixit Dominus

H.

LESLIE.

The First

Christmas

Morn

F. LISZT.

The

Legend

of St.

Elizabeth

C.

H.

LLOYD.

Alcestis

Andromeda

...

Hero and

Leander

The

Song

of

Balder

The

Longbeards'

Saga

(Male

Voices)

W. H.

LONGHURST.

The

Village

Fair

G. A.

MACFARREN.

Songs

in

a

Cornfield

(Female

Voices)

May Day

The

Soldier's

Legacy

(Operetta)

...

Outward

Bound

A.

C.

MACKENZIE.

The

Story

of

Sayid

Jason

The

Bride

(Sol-fa,

8d.)

The

Rose

of

Sharon

(Sol-fa,

2s.)

Jubilee Ode

2

6

2

4

o

I

1

6

2 6

o 6

2

6

o

6

2

6

2 6

MENDELSSOHN.

Elijah

(Sol-fa,

is.

6d.)

St. Paul (Sol-fa,

is.

4d.)

..,

Hymn

of Praise

(Lobgesang)

(Sol-fa, is.)

...

As

the

Hart

pants (Psalm

42)

Come,

let us

sing

(Psalm

95)

When Israel

out

of

Egypt

came

(Sol.

fa,

gd.)

Not unto us, O

Lord

(Psalm

115)

Lord,

how long

wilt

Thou

forget

me

Ditto, Sol-fa

Hear

my

prayer

(s.

solo

and chor.)

Ditto,

Sol-fa

Lauda Sion

(Praise

Jehovah) (Sol-fa, gd

)

...

The

First

Walpurgis

Night

(Sol-fa,

is.)

...

Midsummer Night's

Dream (Female

Voices)

Athalie

(Sol-fa, is.)

Antigone

(Male Voices) (Sol-fa,

is.)

Man

is Mortal (Eight

Voices)

Festgesang (Hymns of

Praise)

Ditto

(Male

Voices)

Christus (Sol-fa,

6d.)

Three

Motetts

for

Female

Voices

Son

and Stranger

(Operetta)

Loreley

(Sol-fa, 6d.)

GiDIPUS

AT

COLONOS

(MALE

VOICES)

To

the

Sons

of

Art

(MaleVoicesI

Ditto,

Sol-fa

Judge

me,

O

God (Psalm

43)

(Sol-fa,

Why

rage

fiercely

the

Heathen

My

God,

why, O

why hast Thou

forsaken

me (Psalm

22)

Sing

to

the

Lord (Psalm

98)

Six Anthems for the

Cathedral at Berlin.

For

8

voices, arranged

in

4

parts

Ave

Maria

(Saviour of

Sinners).

8

voices

MEYERBEER.

Ninety-first

Psalm

(Xatin)

Ditto

(English)

iid.)

Abraham

B.

MOLIQUE.

MOZART.

5

o

2

6

King Thamos

First

Mass

(Latin

and English)

Seventh

Mass in

B

flat

Communion

Service

in B flat,

Ditto

Twelfth

Mass

(Latin)

Ditto (Latin

and

English)

(Sol-fa, gd.)

Requiem Mass

Ditto

(Latin

and

English)

Ditto

Ditto,

Sol-fa

...

lltania

de

venerabili

altaris (in

e

flat)

lltania

de

venerabili

sacramento

'in

b

FLAT)

Splendi-nte

te Deus.

First

Motett

O

God,

when Thou

appea'rest.

Ditto

...

Have

mercy, O

Lord.

Second

Moti.tt

...

Glory,

Honour,

Praise.

Third

Moteit

...

DR.

JOHN

NAYLOR.

Jeremiah

REV.

SIR

FREDK.

OUSELEY.

The

Martyrdom

of St.

Polycarp

R.

P.

PAINE.

The

Prodigal

Son

Great is the

Lord

PALESTRINA.

MlSSA

ASSUMPTA

EST MARIA

MlSSA PAP/E

Marcelli

C.

H. H.

PARRY.

Blest

Pair

of

Sirens

Ajax

and

Ulysses

Prometheus Unbound

DR.

JOSEPH

PARRY.

Nebuchadnezzar

(Sol-fa,

is. 6d.)

3

1

3

4

6

6

8

I

1

1

1 6

1

I

1

1

1

1

6

1

6

3

3

3

3

3

2

C

1

6



Date Due

Sep26'47f|

|

jul b

1941

1

1

<§)



780.77

R514m,

v.l

61065

780.77

R514m,

v.l

Hitter

61065

J

AUTHOR

Musical dictation

780.77 R514m,

v.l

61065

POMONA

COLLEGE

LIBRARY



NOVELLO,

EWER

&

CO.'S

MUSIC

PRIMERS

EDITED

BY

Dr.

STAINER.

x.

Thb Pianoforte

(Price

2s.)

-

- -

-

E.

Pauer.

2.

The Rudiments

of

Music

(Price

is.)

W.

H.

Cummings.

3.

The

Organ

(Price

2s.)

-

- -

Dr.

Stainer.

4.

The

Harmonium

(Price

2s.)

-

- -

King

Hall.

5*

Singing (Price

as.

;

Paper

boards,

5s.)

-

A.

Randeggbr.

6.

Speech

in

Song

(Singer's

Pronouncing

Primer)

(Price

2s.)

-

-

-

A.

J.

Ellis,

f.r.s.

7.

Musical Forms

(Price

2s.)

- - - -

E.

Pauer.

8. Harmony

(Price

2s.)

Dr.

Stainer.

9.

Counterpoint (Price

2s.)

• - -

Dr.

Bridge.

20.

Fugue

(Price

2s.)

James

Higgs.

11.

Scientific

Basis

of

Music

(Price

is.)

-

Dr.

Stone.

12.

Double

Counterpoint

(Price

2s.)

-

Dr.

Bridgb.

13.

Church Choir Training

(Price is.)

Rev.

J.

Troutbec

;.

14*

Plain

Song

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-

-

Rev.

T.

Helm

rj.

15.

Instrumentation (Price

2s.)

-

E.

Prout.

16.

The

Elements of

the Beautiful

in

Music (Price

is.)

...

-

E.

Pauer.

,

The

Violin

(Prices.)

-

-

-

Berthold

Tours.

18. Tonic

Sol-fa

(Price

is.)

-

J.

Curw

in.

1.

Lancashire

Sol-fa

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is.)

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Ja;.ies

Greenwood.

20. Composition

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21.

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