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Libraries-Claremont
Colleges
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?
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Digitized
by
the
Internet
Archive
in 2011
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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
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./
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.
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NOVELLO, EWER
AND
CO.,
TYPOGRAPHICAL MUSIC AND GENERAL PRINTERS
I, BURNERS
STREET, LONDON (\V.)
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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
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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
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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
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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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MUSICAL
DICTATION.
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MUSICAL
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MUSICAL
DICTATION.
21
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COMPOUND
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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
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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.
^
EXERCISES.
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MUSICAL
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25
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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^
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32
MUSICAL
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EXERCISES.
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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
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transferred
from
the
accented
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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.
:
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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.
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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.
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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.
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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
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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.
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68 MUSICAL DICTATION,
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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.
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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.
1
Allegrg.
EXERCISES.
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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
,,
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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.
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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.
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.
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
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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
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Date Due
Sep26'47f|
|
jul b
1941
1
1
<§)
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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
8/19/2019 Musical Dictation 00 Ritt
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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
(Price 2s.)
-
-
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
(Price
is.)
-
Ja;.ies
Greenwood.
20. Composition
(Price
2s.)
-
- - -
Dr.
Stain
e
.
21.
Musical
Terms
(Price
is.)
- -F.aine
and
Barrem
4
22.
The
Violoncello
(Price 2s.)
-
Julhs
de
Swert.