INNEHALLSFORTECKNING IN HALT REGISTER

Inledning .Studieanvisningar .Absolut gehor .

Kapitel:

XIIXII92

Major and minor second.... 17Perfect fifth 25Major and minor thirds. 31Examples of melodies from therepertoire. (Application exercisesfor Chapters I-Ill) 40The Tritone 49Minor sixth .. . . . . . . . . . . . . . . . 56Major sixth 63Examples of melodies from therepertoire. (Application exercisesfor Chapter VIII) . . . . . . . . . . . .. 68Minor seventh 81Major seventh .............. 87Examples of melodies from therepertoire. (Application exercisesfor Chapter IX-X) .... . . . . . . 92Compound intervals. "Weit-melodik" 105

Chapters:

PageIntroduction 13Directions for Study. . . . . . . . . . . . . .. . 14Absolute Pitch 15

17 I25 1131 III

IV

4049 V56 VI63 VII

VIII

6881 IX87 X

XI

92

105

Seite9

1012

Grosse und kleine Sekunde .Reine Quint .Grosse und kleine Terz .Melodienbeispiele aus der Lite-ratur. (Obungsstucke zu KapitelI-Ill) .Tritonus .Kleine Sext .Grosse Sext .Melodienbeispiele aus der Lite-ratur, (Obungsstucke zu KapitelV-VII) .Kleine Septime .Grosse Septime .Melodienbeispiele aus der Lite-ratur, (Obungsstucke zu KapitelIX-X) .Interval!e grosser als die Oktave.Weitmelodik .

Kapiteln:

Einleitung .Studienanweisungen .Absolutes Gehor .

17 I25 1131 III

VI

6881 IX87 X

XI

4049 V56 VI63 VII

VIII

105

Sida678

Stor och Iiten sekund, ren kvart .Ren kvint ................Stor och liten ters .Melodiexempel Iran litteraturen.(Tillampningsovningar pa kap.I-Ill) .Tritonus ...................Liten sext .Stor sext .Melodiexempel Iran litteraturen.(Tlllampnlngsovningar pa kap.V-VII) .Liten septima .Stor septima .Melodiexempel fran litteraturen.(Tillampnlngsovningar pa kap.IX-X) .Interval! stcrre an oktaven.Vidmelodik .

XII

IXXXI

I11IIIIV

VVIVIIVIII

INTRODUCTION.

The main object of aural training should be to develop musicalsensitivity. The different exercises--sight-reading (sight-singing),dictation etc., should not be regarded as an end in themselvesbut as a means to attain this sensitivity. It is a concrete study tudevelop the power of obtaining a conscious and clear comprehen-sion 01 musical structures. This power of comprehension dependsprimaril), it is true, on a fast and accurate reading techniqueand on the proficiency acquired in the dictation exercises, but italso includes emotional elements. It is important that we do notlose sight of these elements in the training of the ear. The prof-fessional musician should indeed be able to give a more detailedaccount of the constructice elements of the musical "gestus",than the listener, but the most essential thing for both of them isto have a feeling for the nuances in the expression of the music.After all, a feeling for the nuances of the musical idiom probablymeans more than a mere technical command of its grammar.This book is addressed primarily to students of music, and deals

in the first instance with the reading of 20th-century music. Thetraditicnal aural training was based on the major/minor tonality,and its obiect was to acquire :m aural command of the major/minm-tcnal music. The methods applied in aural training havethus heen dictated 11\ lIlt' musical material, and during this epoch.it has been based on the laws of the tonal cadence. With the"collapse" 01 the mujcr/minor tonality, however. those concernedwith aural training have been confronted with an entirelv newsituation. The conventional aural training does not meet therequirements 01 20th-centuT) music. Indeed. it is quite naturalthat only a few attempts, it any. have been made in ear-training-techniques In connection with the music that has emerged afteithe major/minor epoch. for it we postulate the truth that themethod is largely determined by the nature of the materialstudied, it follows that we have to obtain some perspective ofthis material before we can produce a sound method. We must

have this perspective in order to be able to understand the struc-ture of the material on which our method is to be based.

We ask ourselves, therefore: Does the music so far composedin the 20th century contain any such logical structural principleswhich could serve as a basis for a method of training the ear?Hitherto the methods have been based on the major/minortonality with the triad as tonal basis. Is there any other equallyclear tonal principle in 20th-century music, and any just as clearlydiscernible basic tonal design? The answer to this, of course, is"No"! The study material presented in this book. however, hasbeen built up on a number of tonal and melodic figures whichin the author's opinion have played some part in avoiding themajor/minor-tonal limitations in 20th-century music. (The 20thcentury is to be understood here as approximately "the first halfof the 20th century". The sight reading problems connected withthe most recent so-called radical music are not dealt with here.)These melodic figures have been grouped together, according tothe intervals they contain, in different chapters with an increas-ing degree 01 difficulty. Each chapter may also be said to dealwith one more special interval. One of the author's main thesis,however, is that Freat accuracy in singing individual intervals isnot always a guarantee 01 accuracy in reading atonal melodies;this is because most students still leel the interval with a major/minor interpretation. which in turn can be ascribed to the factthat irnrn childhood the factor that most actively intluences ourear and our instinct lor the hanuonic relation 01 the tones is stillthe major/minor music.

From a point 01 view of sight reading training, therefore, themost important thing now is to practice combinations of intervalsthat will break the bonds of the major/minor interpretation ofeach individual interval. It is clear that the individual intervalas an "atonal" ligure is of great importance in this training. Thestudent's command (visual and aural) of the theory of intervals

14

in the absolute sense of the word, however, is here merely a pre-i equiwte lor the turther study of what I would like to call "theaural study of the musical patterns".

Reading music is a difficult art to master, and its mechanismis a very complicated process. Take, b} way of comparision, thedifficult) a, chud has in learning to read by putting togetherletters and syllables into lorms that are lingual symbols not onlyof concrete things but also of abstract concepts, known or un-known to the child. Still less clear is the relation of the written

music to that for which it stands as a symbol-the soundingmusic. the most abstract and intangible of the arts! To acquireproficiency in reading music demands a great deal of work, andthis even more so alter the great revolutions that have occurredin contemporary music, specially III the domain of tonality. Thisbook is an attempt to assemble material for this work. It is myhope that it will also stimulate others to add to the material b)presenting new ideas and new publications!

DIRECTIONS FOR STUDY.

The contents of the chapters of this book are in principle builtup around the lollowing headings

1. Presentation 01 the interval material to be used.2. Preparatory exercises.3. Melodies.4 Chord series.There are also chapters containing; "Examples of Melodies from

the Repertoire" at four different stages in the consecutive chap-ters.

Some directions for the use of the material are ghen below

Fi eparatoru ExeTCHe~. These consist of some ,30 short phrasesbuilt up on the intervals in question. These phrases may be usedin the lollowing ways

(a) The phrase is sung from the music(b) The teacher give~ the first note and plays the phrase The

pupil sll1gs it on the names of the notes w ithout looking atthe music and without accompaniment,

(c) Play the phrase. The same as (b), except that the pupilrepeats the phrase on his instrument.

(d) Locate deviations lrom the notation. The pupil sees the

music. The teacher plays or sings the phrase with a few'H( ng notes. The pupil analyses the wrong notes.

(e) DICtatIOn. 1 he teacher gh es the name of the first note,(possibly also the time), plays the phrase (several times, ifrequired). The pupil ~ings the phrase (but not on the namesol the notes), and writes it down

(f) ~lIIg or pld) the phrase dgam at a different pitch. ThisC'(PI crse I, ol special importance in the case of pupils withciitlerent forms of absolute pitch. (See "Absolute Pitch" onp.!.'>.)

Needless to '>

n~J ~n n nrnrnrnmmm

M elodies. The melodies are to be sung b) the pupil on a suit-able vowel. The teacher should give them as home-work, whichis to besupervised. It goes without saying that they should not bepractised with the aid of an instrument, but on the other handthe pupil may check up occasionally on a well-tuned piano. Creatimportance is attached to the reading and understanding of themelodic ligures and their organic context in the melodic pro-gression. See the comments on Melody No. 1, Chap. I, (p, 22).In controlling the pi.pil's singing the teacher should distinguishclearly between faults due to uncertainty regarding the intervalas such, and those due to faulty intonation. Needless to say bothof these laults have to be dealt with. Regarding the intonationIf one wants the final note of the melodies to agree with thecorresponding note on a wel!-tuned "clavier", one has to sing ina "well-tempered" tone of voice.

From the point of view of method there is no cause for greatanxiety because of a pupil's possible tendency to read major/minorcells in to the melodies, or to feel them. If the pupils will onlyaccustom themselves to the frequent "mutations" between thesecells, it will promote their routine music-reuding in spite of this

15feeling of major/minor tonality. With increased experience, theneed for it will disappear.

'I he melodies h.we been composed by the author.

Chord Series. The teelrna lor tone plays a very important partin contemporary music. This applies both to the harmony andcolour of the tone. The most recent music, in particular in thisrespect, calls for a new approach to aural training.

The chord series given here may be used in the followingways:

a) Chord dictation. The pupil does not see the music. Theteacher plays the first note, and then plays each chord, say,twice, at an interval of approx. 5 seconds. The pupil writesdewn the notes 01 the chord. w hieh are then checked.

b) The pupil sees the music. He plays the chcrds one by one.While the chord is still sounding he sings the name 01 acertain note in the sounding chord. He checks up whetherit is correct.

Examples of Melodies from the Repertoire. These exampleslrom the Repertoire can be used in the same wa) as in thepreparatory exercises and melodies. Man} of them are impossibleto sil1g because of their compass and pitch. The exercises under"Preparatory Exercises". p.14, gh e an idea of how these examplescan be used. If possible the teacher should give the pupil an idea01 the entire compositlonal situation in which the example origi-nally occurs. The chapters containing examples have thereforebeen prefaced \\ ith

16

cises are limited to major/minor melodies, this passive absolutepitch may function perfectly, since absolute pitch is largely a form01 memory, and in this case the objects to be rememberedprobably consist of both absolute note pitches and the major/rni-nor tonality's supply of fonuulae. It is clear, however, that pupilswith this passive form of absolute pitch only rarely give anythought to the interval they are singing, and still less do theythink of the tonal function of that interval in the musical con-text. When they are then confronted with the exercises in melody-reading in which the major/minor tonal functions have beendisrupted and weakened, it is often found that their memory forthe pitch of notes (on the keyboard) is of little avail, and in thissituation their insufficient knowledge of intervals is also revealed.

Those who can boast of having so-called, absolute pitch are thusoften deficient in atonal melody-reading. They have difficultyin reading the melodic patterns, apart from separate intervals,These same pupils, however, may often react with great accurac)to wrong notes in an atonal example. It is very important thatthis type of pupil should consciously practise producing the inter-val combinations and melodic designs that are of fundamentalimportance in this book. In doing 50 they should think more ofthe intervals and their melodic function than of the actualnames of the notes. For these pupils the exercises on transposi-tion sung according to their own comprehension of the melodicdesign, and not on the names of the notes, are of special import-ance. See p. 14, exercise (e) and (f)!

RHYTHM

This book does not contain any special studies in rhythm. InmallY 01 the melodies and examples quoted from the repertoire,however, the rhythm is fairly complicated. It is important thatthis rhythm should be carefully observed. For systematic training

*

in the reading and performance of rhythm students are referredto [ergen jersild's "Laerebog i Rytmelasning" (Text-book on theReading of Rhythm), Copenhagen, 1962.)

KAPITEL VIII.Melodi-exempel Iran Iitteraturen

(Tillampningsovningar till kap. V-VII.Se studieanv sid 8).

KalIforteckning1. Beld Bartok Striikkvartett 11 Fickpart.

L'"niversal-Ed., s. 34.2. Sven-Erik Back Tranfjadrarna. Klaver-

utdrag, W. Hansen, s. 30.

3. Sven-Erik Back Tranfjadrarna. Klaver-utdrag, W. Hansen, s. 43.

4. Sven-Erik Back Tranfjadrarna. Klaver-utdrag, W. Hansen, s. 50.

,'j Bela Bartok Konsert for orkester. Fick-part Philharmonia, s. 15.

6 Br-la Bartok Strakkvartett IV, Fickpart.Phllharmonia, s. 8.

7. Paul Hindemith Das Marienleben(Pieta), Ed Schott.

8. Hilding Rosenberg Symfoni Ill, 3-dJesatsen

9. Hilding Rosenberg Riflessioni nr. I .striikorkester.

10 Hilding Rosenberg. Symfoni Ill, Lstasatsen.

11. Bela Bartok Striikkvartett II (se nr 1),s. 16

12 Alban Berg Lynsk svit, Fickpart. Phil-harmonia, s. 19.

13 Igor Stravinsky A sermon, a narrativand a pra}er Fickpart. Boose} & Haw-kes, s. 30.

K-\PITEL \'I11Melodienbeispiele aus der Literatur.(Ubungsstucke zu Kapitel V-VII

Siehe Studienanweisungen Seite in.Quetlen i.erzeichms

1. B~la Bartok Streichquartett 11,Taschenp. Universal-Ed., Seite 34.

2 Sven-Erik Rick Die Kranichfedern.Klav ierauszug, W. Hansen, Seite 30.

3. S\ en-Erik Back Die Kranichfedern.Klavierauszug, W. Hansen, Seite 43.

4. Sven-Erik Back Die Kranichfedern.Klavierauszug, W. Hansen, Seite 50.

5. Br'la Bartok Konzert fur Orchester.Taschenpart. Philharm., Seite 15.

6. Bela Bartok Streichquartett IV,Taschenpart. Philharm., Seite 8.

7. Paul Hindemith Das Marienleben(Pieta). Ed. Schott.

8. Hilding Rosenberg Symfoni Ill, dritterSatz

9. Hilding Rosenberg Riflessioni Nr. I furStreichorchester

10. Hilding Hosenberg Symfoni Ill, ersterSatz.

11. Bela Bartok Sn eichquartett 11 (sieheNr 1), Seite 16.

12 Alban Berg L~ I ische Suite. Taschen-part. Philh.muoma. Seite 19.

13 Igor Stravinsky -\ sermon. ,1 narrativ cand a pra) er Taschenpart. Boose) andHawkes, Seite SO.

CHAPTER VIII.Examples of Melodies from the Repertoire.(Application exercises for Chapters V-VII.

See directions for study, page 15).

LIst of Sources.1. Bela Bartok String Quartet 11. Pocket

edition, Universal Ed., page 34.2 Sven-Erik Back Tranfjadrarna (Crane

Feathers). Pianoscore, W. Hansen,page 30.

S. Sven-Erik Back Tranfjadrarna (CraneFeathers). Pianoscore, W. Hansen,page 43.

4. Sven-Erik Back, Tranfjadrarna (CraneFeathers), Pianoseore, W. Hansen,page 50.

5. Hila Bartok. Concerto for Orchestra,Pocket edition. Philharmonia, page 15.

6. Bela Bartok. String Quartet IV, Pocketedition. Philharmonia, page 8.

7. Paul Hindemith Das Marien\eben(Pieta), Ed. Schott.

8. Hilding Rosenberg Symphony III .Srdmovement.

9. Hilding Rosenberg Riflessioni No. 1fer string orchestra.

10. Hilding Rosenberg Symphony Ill, 1stmovement.

11. Bela Bartok String Quartet 11 (see No.I), page 16.

12. Alban Berg Lyrical Suite, Pocket edi-tion. Philharmonia, page 19.

13. Igor Stravinsky A Sermon, a Narrativeand a Praver, Pocket edition. Boose)' &Hawkes, page 30.

14. Ingvar Lidholm laudi for kor a ea-pella. Gehrmans musikforlag, Stock-holm, s. 5.

15. Karl-Birger Blomdahl: Aniara. Klaver-utdrag, Schott, s. 15.

16. Karl-Birger Blomdahl Aniara. Klaver-utdrag, Schott, s. 153.

17. Lars-Erik Larsson Missa brevis, Gehr-mans musikf., Stockholm, s. 2.

18. Karl-Birger Blomdahl: Aniara (se nr15), s. 87.

19. Alban Berg Wozzeck. Three excerptsfrom. .. Fickpart. Philh., s. 2~.

20. Lars-Erik Larsson Missa brevis (se nr17). s. 9.

21. Igor Stravinsky Threni. Fickpart. Phil-harm., s. 33.

22. Igor Stravinsky Threni. Fickpart. Phil-harm., s. 41.

23. Amold Schonberg Strakkvartett IV.Fickpart. Schirmer, s. 76.

24. Arnold Schonberg- Kammarsymfoni.Fickpart. Universal-Ed., s. 68.

25. Amold Schonberg. Strakkvartett IV(se nr 23), s. 1.

26. Sven-Erik Back Tranfjadrarna (se nr2), s. 55.

27. Ingvar Lidholm Laudi (se nr 14), s. 10.

28. Bela Bartok Strakkvartett I. Fickpart.Ed.EMB Musica, Budapest, s. H.

29. Btla Bartok Strakkvartett 11 (se nr 1),s.33.

30 BEla Bartok Strakkvartett III Fickp.m.Philharm., s. 5.

14. Inghlr Lidholm [,llldi 1111 CI]')r acappella, Cehrm.ms ~llI~ikf()r1ag.Stock-holm. Seite .".

15. Karl-Birger BIOIUd,lhl -\ni,lr,l. KI.l\ ier-auszug, Schott, Seite 1'J.

16. Karl-Birger Blomduhl Aniara, Kla\ ier-auszug, Schott, Seite 133.

17. Lars-Erik Larsson !\1i~S.1 brev is. Gehr-mans Musiki, rl,lg. Stockholm. Seite 1.

18. Karl-Birger B101lld.1I11 -\ni.lrd (sieheNe. 15), Seite 87.

19. Alban Berg Wozzeck. Three excerptsfrom ... Taschenpart. Philharmonia,Seite 25.

20. Lars-Erik Larsson Missa brevis (sieheNe. 17), Seite 9.

21. Igor Stravinsky Threni, Taschenpart.Phllharmonia, Sei te 33.

22. Igor Stravinsky Threni. Taschenpart.Philharmonia, Seite 41.

23. Amold Schonberg. Streichquartett IV,Taschenpart. Schirmer, Seite 76.

24 Arnold Schonberg Kammersymphonie,Taschenpart. Universal-Ed., Seite 68.

25. Arnold Schonberg Streichquartett IV(siehe Nr. 23), Seite 1.

26. Sven-Erik Back. Die Kranichfedem(siehe Nr. 2), Seite 55.

27. Ingvar Lidholm Laudi rsiehe Ne. 14),Seite 10.

28. Blld Bartok Streichquartett I.Taschenpart. Ed EMB Musica, Buda-pest. Seite 19.

29 Btld Bartok Streichquartett 11 (sieheNI. 1). Seite 3.3.

30 BlId Bartok Streichquartett Ill.1 aschenpart Philharm.. Seite 5.

69

1-1. Ing\ ar Lidholm Laudi for Choir acappella. Gehrmans Muslkforlag, Stock-holm. page 5.

1'J. Karl-Birger Blomdahl Aniara. Pianoscore. Schott, page 15.

Hi Karl-Birger Blomdahl Aniara, Pianoscore. Schott, page 153.

] 7 L irs-Erik Larsson Missa Brev is, Cehr-mans Musikfcrlag. Stockholm, page 1.

IH. Karl-Birger Blomdahl Aniara (see NoI.'5), page 87.

19. Alban Berg Wozzeck. Three excerptsfrom.. Pocket ed, Philh.. page 25.

20. Lars-Erik Larsson Missa Brevis (seeNo. ]7), page 9.

21. Igor Stravinsky Threni. Pocket edition,Philharm., page 33.

22. I~or Stravinsky Threni Pocket edition,Philharm., page 41.

2:3. Amold Schoenberg String Quartet IV.Pocket edition. Schirmer, page 76.

24. Arnold Schoenberg Chamber Sy m-phony. Pocket edition. Univ ersal-Ed.page 68.

25. Arnold Schoenberg String Quartet IV(see No. 23), page I.

26. Sven-Erik Back Tranfjadrarna (seeNo. 2), page 55.

27. Ingvar Lidholm Laudi (see No. 14),page 10.

28. Bela Bartok String Quartet I. Pocketedition, Ed. E~fB Musica, Budapest.page 19.

29. Bela Bartok String Quartet 11. (See No.1), page 3.3.

30 Bt b Bartok String QU

39

33.

40.

34.

31. Alban Berg Lyrical Suite (see No. 12),page 36.

32. .srnold Schoenberg String Quartet IV(see No. 23), page 22

33. Arnold Schoenberg Chamber S) m-phony (see No. 24). page 22

34 Igor Strav inskv Symphonv of Psalms.Pocket edition Boose) & Haw kes,page 23

3,,:). Alban Berg L) rical SUIte (see No. 12),page 36.

36. Arnold Schoenberg Chamber S) m-phonv (see 1\:0. 241. page ,'56.

37. Igor Strav inskv Threni (see No. 2Il.page 22.

38. Anton Webern Cantata 11 Pocket ed.Unr, ersal Ed, page 33.

39. Arnold Webern Das Augenlicht P le-ket edition. Universal-Ed., page 13,

40. Anton Webern Drei Gesange op 23,Universal-Ed . page 2

Alban Berg I yrische Suite (siehe Nr.12l. Seite 36.Arnold Schonberg: Streichquartett IV(siehe "Ir 23), Seite 22Arnold Schonberg Kammersy mphonie(siehe Nr. 24), Seite 22.Igor Strav insky Psalmsv mphonie,Taschenpart. Boose) and Haw kes,Seite 23.Alban Berg L) rische Suite (siehe Nr.12l. Seite 36.

36. Arnold Schonberg Kanuuersy mphonie(slehe '\Tr 24), Seite 56.Igor Strav insky Threni (siehe Nr. 21),Seite 22

38. Anton Webern 11. Kantate. Taschen-part. Cnh ersal-Ed., Seite 33.Anton Webern. Das Augenlicht.Taschenpart. Universal-Ed., Seite 15.Anton Webern Drei Ges'lnge op. 23,Universal-Ed., Selte 2.

37.

32.

31.

38. Anton Webern 11. Kantate, Fickpart.Universal-Ed, s. 33.

39. Anton Webern Das Augenlicht. Fick-part. Universal-Ed., s. 15.

40. Anton Webern Drei Gesange op. 23.Universal-Ed., s. 2.

33. Alban Berg Lyrisk S\ it (se nr 12), s 36

36. Arnold Schonberg Kammarsymfoni (senr 24), s. 56.

37. Igor Stravinsky Threni (se nr 21), s. 22.

31. Alban Berg Lyrisk svit (se nr 12), s. 36.

32. Arnold Schonberg Strakkvartett IV(se nr 23). s. 22.

33. Arnold Schonberg. Kammarsyrnfoni(se nr 24), s. 22.

34. Igor Stravinsky Psalmsymfoni. Fick-part. Boosey & Hawkes, s. 23.

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CoverInhaltIntroductionDirections for StudyAbsolute PitchRHYTHM

I. Major and minor secondII. Perfect fifthIII. Major and minor thirdsIV. Examples of melodies from the repertoire. (Application exercises for Chapters I-Ill)V. The TritoneVI. Minor sixthVII. Minor sixthVIII. Examples of melodies from the repertoire. (Application exercises for Chapter VIII)IX. Minor seventhX. Major seventhXI. Examples of melodies from the repertoire. (Application exercises for Chapter IX-X)XII. Compound intervals. "Weitmelodik"