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8/13/2019 Scales Music

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Melody Irregular Scale-Line and Narrow Skips 119

the wrong direction, i. e., using the progressions 345; 5678;8765; and jumping a third up from 6 or 4, and down from 7.Section B.

(1) Review the Intervals of Lessons 16, Section C, page 92;18, Section B, page 102; 19, Section B, page 107; and 20, SectionB, page 114.

(2) Absolute Intervals : Perfect Fifth and Perfect Fourth.

(a) Play each of the intervals of (a) and sing 1 5 (Perf. 5th).Play the lower tone, sing the upper.Play the upper tone, sing the lower.

(b) Play each of the intervals of (b) and sing 5 8 (Perf. 4th).Play the lower tone, sing the upper.Play the upper tone, sing the lower.

(c) Play each of the intervals, of (c) and determine if it isa perfect 5th or a perfect 4th, testing if it is 1 5 or 5 8.

(3) (a) Review the chords of Lessons 18, Section B, page 102;19, Section B, page 107; and 20, Section B, page 115.

(b) Play the Dominant Chord, followed by the TonicChord, in every Major key.

Major keyi ij i fi I 5 |

(c) Sing in every key, with numbers and letter-names:5725, 1358; 5725, 85315275, 8531; 5275, 1358

(4) Melodies for Dictation and Singing, containing progres-sions allowed in Lesson 21, Section A:1 2

EJ [/[u n* r if r i ir rr


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Melody Irregular Scale-Line and Narrow Skips 121

(2) Exercises in Sight-Singing:i

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CHAPTER XIIIMelody Wide Skips

Any skip larger than a third is a wide skip. Skips of all in-tervals are made, though a skip beyond an octave is rare.

All skips must be between tones of a chord. The jump from1 to 7 or 7 to 1 is not good, as there is no 7th in the I chord. Theskip from 3 up to 7 or from 7 down to 3 is not used, as it is part ofthe III chord, which is so far from the key-centre that these skipssound as if in a new key.

After every wide skip the melody will turn and progress in theother direction, preferably along the scale. It may continue alongthe scale in the same direction for two or three tones, and thenturn. Wide skips are better made within the measure, and notover the bar.

In jumping to active tones it is better to jump from above to 7,and from below to 6 or 4, so that the melody will turn after the wideleap and at the same time resolve the active tones. If a wide skipis made to 7 from below, or to 6 or 4 from above, the melody mayturn and leave the active tone unresolved, as the necessity forturning after a wide skip counteracts the demand for resolution ofthe active tone.A wide skip may be made in either direction from a rest tone,and to any tone except the progressions given above (17 and 3 7).The natural direction in which to jump from active tones is inthe direction of their resolution. All skips up from 7 and downfrom 6 and 4 are correct.A skip may be made down from 7. The only skips whichsound well are 7 to 5, and 7 to 2.A slap may be made up from 4 or 6 to any tone.

The most beautiful melodies possess skips of a third, anoccasional wide skip, repeated tones and a predominance of scale-progression.

The resolution of active tones may be deferred, as long asthey are resolved after three or four tones. We may progress 545if it is followed by 3, 2 3 or 1 2 3. Also 5 6758 or 567528,or 5 6 7 5 3 2 8.

r 123 ]

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