A Study of The Choral Conductor's Ear - Training Process, and The Development of An Ear - Training Workbook For Choral Conductors

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A STUDY OF THE CHORAL CONDUCTOR’S EAR-TRAINING PROCESS,
AND THE DEVELOPMENT OF AN EAR-TRAINING
WORKBOOK FOR CHORAL CONDUCTORS
by
William B. Wright
A Dissertation Submitted to
The Faculty of The Graduate School at
The University of North Carolina at Greensboro
in Partial Fulfillment
of the Requirements for the Degree
Doctor of Musical Arts
Greensboro
2001
Approved by
Committee Chair
UMI Number: 3009710
Copyright 2001 by
Wright, William B.
All rights reserved.
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© 2001 by William B. Wright
WRIGHT, WILLIAM B., D.M.A. A Study of the Choral Conductor’s Ear-Training
Process, and the Development of an Ear-Training Workbook for Choral Conductors.
(2001)
Directed by Dr. Richard G. Cox. 262 pp.
The purpose of this project, described in Chapter I, was to study the choral
conductor’s ear-training process and to create a workbook that will aid choral conductors
in the development of the specific aural skills required for successful choral conducting.
The research, presented in Chapter H, included an examination of how conducting and
ear-training textbooks have addressed the conductor’s ear-training process, and a review
of systematic studies that were designed to investigate the effectiveness of various ear-
training processes.
Chapter in is the presentation of a workbook for choral conductors, designed to
guide the budding conductor through a step-by-step process that will result in improved
aural acuity. The workbook focuses on the development of multi-part hearing, vertical
aural discrimination, the formation of the mental-aural image of a score, and error
detection. It contains seven modules that apply similar concepts and techniques to
musical material of increasing complexity.
The methodology employed in the workbook encourages the conductor to sing the
score in various ways with limited use of the keyboard. Chapter IV is a report of the
author’s experiences trying out this methodology with choral conducting students at The
University of North Carolina at Greensboro.
Dedicated to Ethel and my parents
ii
APPROVAL PAGE
This dissertation has been approved by the following committee of the
Faculty of The Graduate School at The University of North Carolina at Greensboro.
Committee Chair
l‘
Committee Members •'x>^wrw 1 ■
A p r \ \ 3, 91oo\________
Date of Acceptance by Committee
o -< ~ c -V \ ^ \ } A g o l _ _ _ _ _ _
Date of Final Oral Examination
iii
ACKNOWLEDGMENTS
I extend my heartfelt thanks to my dissertation advisor, Dr. Richard G. Cox, and to
the members of my dissertation committee, Dr. William P. Carroll, Dr. Eleanor F.
McCrickard, and Dr. Nancy L. Walker. Without their wisdom and counsel this project
would not have been possible. I would also like to thank Dr. Carol Marsh for her help in
the early stages of the project, and Sarah Dorsey for her assistance with matters
concerning copyright permissions.
I am deeply grateful to Ethel Hu for her constant support, and to my parents and
sisters who have nurtured me from the beginning.
iv
TABLE OF CONTENTS
Page
CHAPTER
I. PURPOSE AND DESCRIPTION OF THE PROJECT................................... 1
Justification.............................................................................................. 2
The Focus of the Workbook.....................................................................4
H. PRESENTATION OF RESEARCH............................................................... 10
Aural Skill Development as Addressed in Conducting Textbooks 10

Aural Skills for the Conductor as Addressed in Ear-Training Texts 18
Systematic Studies of the Conductor’s Ear-Training Process.................25
Conclusions........................................................................................... 31
m . AN EAR-TRAINING WORKBOOK FOR CHORAL CONDUCTORS 35
INTRODUCTORY INSTRUCTIONS.................................................. 35
MODULE 1, SECTION A
Two-part Singing and Hearing................................................... 38
MODULE 1, SECTION B
Error Detection in One Voice Part: Student Section...................52
MODULE 1, SECTION C
Error Detection in One Voice Part: Teacher Section..................57
MODULE 1, SECTION D
Intervals in a Tonal Context: Major Keys..................................62
MODULE 2, SECTION A
Exercises in Octave Displacement............................................. 67
MODULE 2, SECTION B
Two-part Singing and Hearing................................................... 72
MODULE 2, SECTION C
Error Detection in Two Voice Parts: Student Section.................81
MODULE 2, SECTION D
Error Detection in Two Voice Parts: Teacher Section................85
MODULE 2, SECTION E
Intervals in a Tonal Context: Minor Keys.................................. 89
MODULE 3, SECTION A
Three-part Singing and Hearing................................................. 93
MODULE 3, SECTION B
Error Detection in Three Voice Parts: Student Section.............112
MODULE 3, SECTION C
Error Detection in Three Voice Parts: Teacher Section............118
MODULE 3, SECTION D
Working with Triads................................................................. 128
MODULE 4, SECTION A
Singing and Hearing the Score: Four Voices on Two
Staves.................................................................................... 130
MODULE 4, SECTION B
Error Detection in Four Voice Parts: Student Section............... 138
MODULE 4, SECTION C
Error Detection in Four Voice Parts: Teacher Section..............143
MODULE 4, SECTION D
Working with Seventh Chords..................................................148
MODULE 5, SECTION A
Singing and Hearing the Score: Four Voices on Four
Staves.................................................................................... 152
MODULE 5, SECTION B
Error Detection in Four Voices on Four Staves: Student
Section................................................................................... 170
MODULE 5, SECTION C
Error Detection in Four Voices on Four Staves: Teacher
Section................................................................................... 177
MODULE 5, SECTION D
Working with Inverted Seventh Chords................................... 186
MODULE 6, SECTION A
Singing and Hearing the Score: Chromatic Harmony...............190
MODULE 6, SECTION B
Error Detection in Chromatic Harmony: Student Section........ 202
MODULE 6, SECTION C
Error Detection in Chromatic Harmony: Teacher Section....... 208
MODULE 6, SECTION D
Pitch Reinterpretation...............................................................216
vi
MODULE 7, SECTION A
Introduction to the Aural Challenges of Twentieth-Century
Music....................................................................................219
MODULE 7, SECTION B
Error Detection in Twentieth-Century Music: Student
Section...................................................................................231
MODULE 7, SECTION C
Error Detection in Twentieth-Century Music: Teacher
Section...................................................................................239
IV. REPORT ON THE TRIAL OF THE WORKBOOK............................... 249
BIBLIOGRAPHY....................................................................................................... 255
vii
1
CHAPTER I
PURPOSE AND DESCRIPTION OF THE PROJECT
The purpose of this project is to study the choral conductor’s ear-training process
and to create a workbook that will aid choral conductors in the development of the
specific aural skills required for successful choral conducting. My research into this topic
falls into three categories. I have examined the ways that conducting textbooks address
the conductor’s ear-training process; I have studied the ways that ear-training textbooks
address the specific aural skills that are important to the choral conductor; and I have
examined systematic studies that were designed to investigate the effectiveness of various
ear-training processes. The results of my research are presented in Chapter II.
My workbook is presented in Chapter HI. Its purpose is to guide the conductor or
student through a step-by-step process designed to result in improved aural acuity. It is
intended for use in conducting classes and lessons, as well as for the self-improvement of
individual conductors already active in the field. Designed for advanced musicians, it is
not intended to be an alternative to standard undergraduate ear-training curricula. The
workbook begins where most undergraduate curricula leave off, and does so in a way that
addresses the specific needs of the choral conductor.
2
Justification
There is a fable of a young conductor who wished to impress himself on his

men by a display of sharp hearing. He secretly wrote in a false F# in the
second bassoon part of a particularly loud and boisterous passage. At the
rehearsal in the midst of the orchestral rumpus he suddenly stopped the
orchestra and cried out impatiently, “F sharp, F sharp in the second bassoon
is wrong,” only to be answered by the first player, “Beg pardon, Sir, the
second bassoon is absent today.”1
The skilled conductor should not have to resort to such a stunt to impress other
musicians with his or her ear acuity. In the course of rehearsing, the genuinely well-
developed ear will be easily discernible. The choral conductor with an under-developed
ear will find it difficult to advance to a high level.
I believe strongly in the usefulness and importance of this project. Developing the
highest possible degree of aural skill should be a lifelong quest and an ongoing pursuit
for conductors at any level. My own aural skills could certainly use more regular
exercise, as could the skills of many other budding conductors I have observed.
However, just as voice teaching has tended to stress voice building over the development
of comprehensive musicianship, conducting pedagogy has had a tendency to focus on the
development of physical skills and repertoire building over the aural skills component of
the conductor’s training. After extensive research, I have not been able to find any
publication that specifically and solely addresses the development of the choral
conductor’s aural skills.
' Albert Stoessel, The Technique o f the Baton: A Handbookfo r Students o f Conducting (New York:
Carl Fischer, 1920), 93.
3
Many authors and well-known conductors have commented on the importance of
the conductor’s ear. Brock McElheran expresses this importance succinctly by stating,
“It has been said that a good conductor is merely a pair of ears with arms attached.”2
Archibald Davison asserts:
Without a scientifically trained ear, the choral conductor is at a permanent and

serious disadvantage; even with the possession of an acute and discriminating aural
sense, the beginner will fail to hear much that is important. Self-consciousness and
concern with manifold detail—much of it almost mechanical—will so turn him in
upon himself that bad tone, flatting, insecure singing, and even wrong notes will
not pierce the armor of his preoccupation.3
Along similar lines, Gunther Schuller states:
To be sure, one aspect of conducting has not changed: the role played by the ear.
The ear is still the final controlling arbiter, and in contemporary music, perhaps
more than any other, no amount of baton dexterity can make up for deficiencies in
either ear or mind.4
Harold Decker also speaks of ear training with a great sense of import in his book,
Choral Conducting: Focus on Communication. About the conductor, he observes:
He must attend to the music both vertically and horizontally, although at first this
will require separate concentrated efforts. The conductor's ear rarely comprehends
everything at once, but with careful concentration, and through repeated efforts,
2 Brock McElheran, Conducting Technique: For Beginners and Professionals (New York: Oxford
University Press, 1966), 91-92.
3 Archibald Davison, Choral Conducting (Cambridge, Massachusetts: Harvard University Press,

1940), 4.
4 Gunther Schuller, “Conducting Revisted,” in The Conductor’s Art, ed. Carl Bamburger (New
York: McGraw Hill, 1965), 300.
4
each conductor will improve the ability to hear more aspects of the music
simultaneously and to diagnose problems accurately.5
In Conducting a Choir, Imogen Holst speaks with commitment about the ear's
importance. “Many amateurs are content to leam their scores at the piano, but a
conductor with a good ear should be able to imagine the sound of the written notes he is
looking at.”6 She also stresses the fact that a significant challenge facing the conductor is
“listening to what you are hearing while imagining what you hope to hear.”7
These statements support my conviction that well-developed aural skills are
indispensable to the choral conductor. Such testaments provide a mandate for the
development of a systematic workbook to foster the improvement of the choral
conductor’s aural abilities.
The Focus of the Workbook
Many aural skills are important to the choral conductor. These include interval
awareness, linear sight singing, multi-part hearing, vertical/aural discrimination, error
detection, harmonic identification, and an aural sensitivity to intonation, balance, timbre,
rhythm, tempo, phrasing, dynamics, and diction. No workbook could adequately and
thoroughly address all of these areas. My workbook focuses specifically on the
s Harold A. Decker, Choral Conducting: Focus on Communication (Englewood Cliffs, New Jersey:
Prentice Hall. 1988), 108.
6 Imogen Holst. Conducting a Choir: A Guide fo r Amateurs (London: Oxford University Press,
1973), 3.
7 Ibid.
5
development of multi-part hearing, vertical aural discrimination, the formation of the
mental-aural image of a score, and error detection. These areas all pertain to the
conductor’s ability to achieve aural control over a score with regard to pitch content and
the ability to put this aural control to full use during rehearsal.
Linear sight singing is the aspect of ear training that traditionally receives the most
attention in undergraduate ear-training classes and textbooks. For the choral conductor, it
is the ability to sing and/or imagine accurately any individual vocal line in a score.
Strong linear sight-singing skill is imperative for the choral conductor and serves as the
foundation for all of the other aural skills. It is not addressed as a separate topic in my
workbook for a number of reasons. First, numerous ear-training books that focus on this
aspect of aural skill already exist. Second, my workbook is designed for active
conductors, and the mastery of linear sight singing to a moderately advanced level is
assumed before one can begin serious work as a choral conductor. However, the
workbook will require the conductor to sing the individual vocal lines of each exercise as
a preliminary step before proceeding with the exercise, thereby providing ample
opportunity for the polishing of linear sight-singing skill. Most conductors will find that
complete mastery of this skill, as with most aural skills, will be a lifelong pursuit.
Multi-part hearing is the ability to hear and assess two or more musical events
going on at the same time. The conductor needs to be able to hear the component parts of
a musical texture and to perceive each part accurately as both an individual strand of
musical activity and as a part of the musical whole. Exercises in my workbook designed
to improve this skill include the following:
6
• Singing one voice part while playing another.
• Singing one voice part while playing two others.
• Singing one voice part while playing three others.
• Singing one voice part while imagining another, or imagining the full texture.
• Singing through a piece, jumping from one voice part to another at prescribed points.
• Singing the soprano part for one measure, the alto part in the next measure, the tenor
part in the next measure, and the bass part in the next measure, repeating the process
to the end of the piece.
• Conducting through a piece, singing each vocal entrance, continuing with that voice
until the next time a different voice enters or reenters after a rest.
• Conducting through a piece singing only the most significant melodic material.
Vertical aural discrimination is the ability to hear and to identify the component
parts of a chord. This is related to multi-part hearing; however, multi-part hearing
involves keeping track of various strands of musical activity as they unfold in time.
Vertical aural discrimination (in its purest form) is hearing and identifying the component
parts of a single sound event. Exercises in my workbook include the following:
• Identifying intervals and placing them in a tonal context.
• Singing chords vertically from bottom to top and from top to bottom.
• Analyzing the harmonic structure of chords.
7
Aaron Copland said that “no man has the right to stand before an orchestra or a
chorus unless he has a complete conception in his mind of what he is about to transmit.”8
This image of the music that is present in the conductor’s mind is called the mental-
aural image. Conductors with fully developed aural skills and score-reading ability can
form a thorough mental-aural image of the pitch content of a score without ever actually
hearing a performance or recording of the work. The process of forming a mental-aural
image involves a combination of aural and score-study skills, and has traditionally
involved listening to a recording, playing the score, singing the score, silent study, or
some combination of these. My workbook will focus on developing the mental-aural
image of a score by singing the score in various ways, both horizontally and vertically,
with limited use of the keyboard. The conductor will work on developing the ability to
achieve a thorough mental-aural image by applying systematic score-study techniques to
choral scores and excerpts.
Wilhelm Furtwangler said:
Generally considered, there is no such thing among conductors as a good or bad

“ear.” There is only a greater or lesser mastery of the material, that is, the score
and its every detail. One can only hear individual mistakes in the complicated mass
of sound when one knows completely just what the composer wanted.9
Although I do not necessarily agree that among conductors there is no such thing as a
good or bad ear, Furtwangler’s comments serve to highlight the close relationship
8 Aaron Copland, Copland on Music (New York: W. W. Norton, 1963), 137.
9 Albert Stoessel, The Technique o f the Baton; A Handbook fo r Students o f Conducting (New York:
Carl Fischer, 1920), 93.
8
between aural skill, the ability to read a score, strong score-study techniques, and the
ability to form a complete mental-aural image. For that reason, I have indicated in my
workbook many exercises that should be repeated silently, with the conductor imagining
the sound of the music.
E rror detection requires the conductor to assess what is heard in relation to what
is in the score and in the mental-aural image. To some extent, skill in error detection
grows naturally out of the ability to form a thorough mental-aural image. The
conductor's success in critiquing what he/she hears depends on the depth of the image.
The ability to recognize that something is wrong will be present if the conductor has a
basic mental-aural image of a piece of music. The ability to discern exactly what is
wrong will require an image that is thorough at all levels in combination with strong
analytical skills to pinpoint the nature of particular errors.
My workbook contains many error-detection exercises, where the student looks at
the correct version of the score while the instructor or partner plays a version of the score
containing prescribed wrong notes. These exercises may also be used in a conducting
class. The class would sing the choral excerpt containing the errors while the designated
conductor would attempt to pinpoint and correct the errors.
Practice in error detection can be somewhat useful in improving error-detection
skill. However, practice in error detection alone may not lead to continuous
improvement in error-detection ability. I will use exercises in multi-part hearing and
vertical aural discrimination in conjunction with exercises in error detection to improve a
conductor’s ability to pinpoint errors. Error-detection exercises can also be used
9
effectively to measure a conductor’s aural skill, and to measure the improvement that has
resulted from the ear-training process.
The exercises in the workbook are notated using the Finale music notation
program. Most are excerpts from actual pieces of choral music. The workbook contains
seven modules of increasing difficulty. The modules all apply similar concepts and
techniques to musical material of increasing complexity. The last module focuses on the
aural demands of twentieth-century music.
In the process of developing my workbook I have worked through the various
exercises with choral conducting students here at the University of North Carolina at
Greensboro. This has enabled me to gain insight into what works and what does not,
assess the difficulty and feasibility of each exercise, and receive feedback regarding both
content and form of presentation. A report of my work with these students and how it
influenced the final form of the workbook is presented in Chapter IV.
10
CHAPTER II
PRESENTATION OF RESEARCH
My research into this topic falls into three categories. I have examined the ways
that conducting textbooks address the conductor’s ear-training process; I have studied the
ways that ear-training textbooks address the specific aural skills that are important to the
choral conductor; and I have examined systematic studies that were designed to
investigate the effectiveness of various ear-training processes.
Aural Skill Development as Addressed in Conducting Textbooks
I found there to be a wide variety in the ways that aural skill development is
addressed in books about conducting. Of the seventy-six conducting books examined,
only twenty-three of them make mention of aural skill development at all. Of these
twenty-three, about half deal with the issue substantively. Many of the texts that do not
make significant mention of aural skill development are fine books about conducting that
consciously delegate this aspect of the conductor’s training to other sources. Still, the
seeming “conspiracy of silence” among many conducting pedagogues with respect to this
issue is mildly disturbing. Quite a few of the authors who make mention of the
importance of the development of the ear provide philosophical comment about the
subject, then suggest either explicitly or implicitly that ear development is something that
budding conductors should undertake on their own.
11
In several books, the table of contents gave me hope that the topic of aural skills
was going to be addressed significantly. For instance, in Rehearsal Guide fo r the Choral
Conductor by Jack Boyd I thought that chapter five, entitled “Preparing for that First
Rehearsal,” would touch on the subject. That chapter turns out to be focused on how to
arrange the music in the chorister’s folders. The section about “Preparing the Score” also
bore no fruit. It focuses on how to mark one’s score with color-coded marks.10
A number of authors are particularly noteworthy because they back up their
statements about the importance of aural acuity with specific suggestions and exercises
designed to improve it. I have benefited from many of the techniques put forth by these
authors. The works listed in Table I (alphabetically by author) and discussed below are
those that had particular influence on me in the development of my own workbook.
Complete citations can be found in the bibliography of this dissertation.
10Jack Boyd, Rehearsal Guide fo r the Choral Director (West Nyack, New York: Parker Publishing
Company, 1970).
12
TABLE 1. Books and articles about conducting that influenced me significantly in the
development of my ear-training workbook for choral conductors
Title Author
The Conductor and His Score Elizabeth Green and Nicolai Malko
Choral Conducting Symposium Edited by Julius Herford and Harold Decker
Conducting Emil Kahn
Choral Techniques Gordon Lamb
Conducting Technique: For Beginners Brock McElheran

and Professionals
‘The Conductor’s Process” Jameson Marvin
“Mastery of Choral Ensemble” Jameson Marvin
Conducting Technique: For Beginners Daniel Moe

and Professionals
“The Choral Conductor and Twentieth- Daniel Moe

Century Music”
The Choral Conductor Kurt Thomas
In chapter five of Choral Conducting Symposium Julius Herford outlines some
specific exercises for aural development. He examines a portion of four works in detail.
These are the first movements of Requiems by Mozart, Berlioz, Brahms, and Faure. He
takes the reader through a detailed analysis of each first movement and provides “audible
exercises” for the development of ear skill and a mental concept of the music. These
exercises consist mostly of playing one part, usually the bass line, while singing another,
usually the part containing significant melodic material. Herford’s techniques are well
13
constructed, though they seem to focus on two-part hearing. He does not address the
concept of hearing vertical sonorities of more than two voices.11
Gordon Lamb provides some useful guidelines for training the conductor's ear
during the process of score study. He divides the issue into two aspects, melodic
considerations and harmonic considerations. With regard to melodic considerations, he
suggests that in addition to singing each individual line repeatedly, conductors should ask
themselves a series of questions about the melodic structure of the work at hand. These
questions pertain to mode, phrase length, phrase shape, repetition, interval content,
conjunct and disjunct motion, harmonic implications of horizontal musical lines, range,
and other aspects of melodic construction. Regarding harmonic considerations, he
stresses harmonic analysis and a grasp of the harmonic flow of each phrase. A series of
questions is provided pertaining to nonchordal tones, important notes such as leading
tones and root progressions, harmonic rhythm, harmonic tension, dissonance, modulation,
and other aspects of harmony.12 Attention to these questions will assist in aural
development by helping the conductor to acquire a sensitivity to all the various aspects
and implications of melody and harmony.
Brock McElheran devotes a two-page chapter to “Ears” in Conducting Technique:
For Beginners and Professionals. In this chapter he asserts that improving the arm
technique to the point where it is automatic will help significantly in allowing a
11 Harold A. Decker and Julius Herford. eds.. Choral Conducting Symposium (Englewood Cliffs,
New Jersey: Prentice Hall, 1988).
12Gordon Lamb, Choral Techniques, 3d ed. (Dubuque, Iowa: Wm. C. Brown Publishers, 1988),
162-163.
14
conductor to listen better in rehearsal. He feels that traditional ear-training courses are of
little help to the conductor and that the best training is in wrong-note detection, where an
instructor plays passages containing deliberate wrong notes while the class tries to locate
them in relation to the score.13
Emil Kahn is a writer who backs up his rhetoric about the importance of aural skill
with specific ideas of how to go about improving it. Chapter nine of his book
Conducting, entitled “The Eye and the Ear,” is devoted to both ear training and score
reading. He acknowledges that hearing errors and correcting them immediately is far
more difficult than is generally believed. He provides four different ways for the
conductor to improve the ear:
• Dictation. He recommends simple polyphonic and harmonic dictation exercises, and
provides several pages of such exercises.
• Recognizing wrong notes played intentionally. He recommends practicing this with a
friend.
• Recognizing and following different instruments. He feels that by trying to discern
and follow individual instruments through a complex work or passage, one can
develop skill in multi-track hearing.
• Learning to read a score with the inner ear. He suggests taking small sections of
Bach Inventions, and with no audible sound, practice hearing one voice, then another,
13Brock McElheran, Conducting Technique: For Beginners and Professionals (New York: Oxford
University Press, 1966), 91-92.
15
and then voices in combination. He recommends staying with an eight-bar phrase
until all parts can be completely “heard” simultaneously.14
In The Conductor and His Score, by Elizabeth Green and Nicolai Malko, Green
writes extensively about training two types of hearing, “the objective hearing of audible
sounds,” and “the subjective, imagined, inner-ear process.”15 She believes that training
the imaginative hearing process is the more complex and difficult task. She suggests
three basic processes that need to be mastered before opening a score as a conductor.
• Imagining accurately a whole or half step up or down from any given note.
• Singing all notes of the scale between the outlining notes of any given interval
without changing key.
• Imagining the aforementioned notes, singing only the outlining notes of the interval.16
Green recommends that once these steps have been mastered, ear work can be
commenced using the score. For training the imaginative ear she suggests taking any
voice part and singing the first note of each measure aloud, imagining the intervening
notes in the inner ear. For training in the hearing of harmonies she advocates identifying
the harmonic rhythm of a passage, then, at the places where the harmony changes,
singing upward through the score from the lowest part to the highest, adjusting the octave
14 Emil Kahn, Conducting (New York: The Free Press, 1965), 81-86.
15 Elizabeth G reen and Nicolai Malko, The Conductor and His Score (Englewood Cliffs, N ew
Jersey: Prentice-Hall, 1975), 3.
16 Ibid.
16
to suit your vocal range.17 These are ail excellent exercises that influenced me in the
development of my own workbook.
In the same book, Nicolai Malko addresses the preparation of the ear as part of
preparing a score. He maintains that a conductor should always study a score mentally
and silently before finally turning to any audible sound. This will improve the ear and
eye, and help the conductor to avoid imitation of a recorded performance.18 He stresses
the conductor's need to know the “content” of a work, not just the sound. He defines
“content” as the instrumentation, style, emotional characteristics, phrasing, dynamics,
articulation, structure, demands on the player or singer, and the potential rehearsal
problems.19 He also recommends singing through a work switching from part to part, and
singing only the most important voice at any given moment. This requires not only aural
skill, but also the ability to analyze the music to determine the most important voice.
Jameson Marvin, a conductor who has written extensively about the mental-aural
image, writes, “Crystallized in score study and fired by the imagination, the mental-aural
image is a powerful motivating agent. It provides an ever-present standard against which
to measure the choir’s progress. The deeper the insights into the score, the more clear and
profound the mental-aural image becomes. Clarity of insight inspires conductors to attain
their vision. Inspired conductors motivate singers. Motivated singers inspire each other
17 Ibid., 6.
18 Ibid., 12.
19 Ibid., 13.
17
and the conductor, the process is self-renewing.”20 Elsewhere he writes, “Understanding
the relationship of the mental-aural image, the ear, and rehearsing is the key to
understanding the process by which conductors achieve mastery of choral ensemble.”21
Marvin provides an outline of the score-study process designed to establish a
thorough mental-aural image.22 Particularly noteworthy is his emphasis on studying
the text and its relationship to structure, sub-structure, cadences, harmony, melody,
dissonance, chromaticism, modulation, specific chord choice, rhythm, texture, voicing,
and instrumentation if applicable. His philosophy is that if a conductor can perceive how
and why the music came into being, the multitude of musical details will be more readily
etched into mind and memory.
Daniel Moe has also written extensively about the conductor’s mental concept of
the sound of a piece of music:
The formation of such a concept involves the complete assimilation of the

music into the mind and ear of the conductor. This implies that the
conductor is able to hear the score clearly in his mind. This idealization of
the total work becomes the yardstick by which he measures the actual
sounds in rehearsal and in performance The participation of the ear in
the process of creating the initial conception has already been suggested.
It plays an even more strategic role, however, when it begins to function in
the presence of actual sound.. . . A continuously active, probing,
examining ear is essential. The ear, however, must be prepared. It must
be alerted and readied for its role of ’arbiter’ and diagnostician. This
preparation is one of the principal functions of analysis. For the
20 Jam eson Marvin, "The C onductor's Process," in Five Centuries of Choral Music: Essays in
Honor o f Howard Swan, ed. G ordon Paine (Stuyvesant, NY: Pendragon Press, 1988), 23.
21Jam eson M arvin, "M astery o f C horal Ensemble," in Up Front! Becoming the Complete
Choral Conductor, ed. Guy B. Webb (Boston: ECS publishing, 1993), 97.
22 Ibid., 99.
18
conductor, analysis is the process by which the mind and ear become
ready.23
Many authors speak of using the piano as an aid in score study, with the ultimate
goal being the ability to hear the score in the imagination without use of an instrument.
Rehearsing without the piano is something beneficial to the musicianship of any good
chorus, but it increases the demands on the conductor's ear as well. Kurt Thomas speaks
to this issue:
The ideal situation is to work without a piano in a cappella music, if

for no other reason than that the unaccompanied chorus should sing with
pure intonation which deviates from the tempered tuning of the instrument.
The practice of banging the notes on the piano for each part, often adopted
for the convenience of the conductor, must be completely eliminated. It is a
mistake to assume that results can be attained more quickly in this way.
The aim should be to use vocal demonstration where necessary— the
voice should be the point of departure, and every sound foreign to the voice
should be avoided. The sound of voice and piano in unison can drive the
discerning musician to despair.24
Aural Skills for the Conductor as Addressed in Ear-Training Texts
Many texts about ear training, sight singing, aural skills, and score reading address
the aural skills on which I have focused in my workbook: multi-part hearing, vertical
aural discrimination, the mental-aural image, and error detection. I have examined fifty-
three sources. Those that influenced me most significantly are listed in Table 2
23 Daniel Moe, “The Choral Conductor and Twentieth-Century Choral Music,” in Choral
Conducting Symposium, ed. Harold A. Decker and Julius Herford (Englewood Cliffs, New Jersey: Prentice
Hall, 1988), 167-168.
24 Kurt Thomas, The Choral Conductor, English adaptation by Alfred Mann and William H. Reese
(New York: Associated Music Publishers, 1971), 61.
19
(alphabetically by author) and discussed below. Complete citations can be found in the
bibliography of this dissertation.
TABLE 2. Ear-training texts that influenced me significantly in

the development of my ear-training workbook for choral conductors
Title Author
Modus Novus Lars Edlund
Ear Training for Twentieth-Century Music Michael Friedmann
Functional Hearing Arthur Gottschalk and Phillip Kloeckner
Twentieth Century Harmonic and Melodic Ted Hansen

Aural Perception
Harmony for Ear, Eye, and Keyboard Edward Arthur Heacox
Tonal/Atonal: Progressive Ear Training, Ronald Herder

Sight Singing, and Dictation Studies in
Diatonic, Chromatic and Atonal Music
Aural Training: A Comprehensive Vernon L. Kliewer

Approach
Aural Awareness: Principles and Practice George Pratt
Advanced Ear-Training and Sight-Singing George A. Wedge
Ear Training: An Approach through Music Gary E. Wittlich and Lee Humphries
Literature
Advanced Ear-Training and Sight-Singing, by George A. Wedge, is laid out as a
study of harmony. There are chapters on triads, inversions of triads, chords of the
seventh and ninth, chromatically altered chords, modulation and embellishment. Each
20
chapter contains a multitude of ear exercises pertaining to the particular topic.25 The
exercises for the singing of harmonies are especially relevant to the study in which I am
engaged. Chords are unfolded into linear form and the student sings the resulting lines as
melodies. Fifty-three pages of this type of chordal singing are presented, dispersed
throughout the book. I have applied a similar type of chordal singing to choral scores in
my workbook.
Functional Hearing, by Arthur Gottschalk and Phillip Kloekner, is perhaps the
most comprehensive of the textbooks I examined and would be an excellent volume for
use in conjunction with a theory or conducting class. It is 490 pages in length, some of
which are in workbook form. There is also a teacher’s edition that contains dictation
samples and the answers to all questions. As its name implies, the book focuses on
hearing things as they function in context. The concept of scale degree function is
stressed. Students are encouraged to develop a strong sense of the function of each tone
within the tonal framework. The book goes through the basic elements of music theory
and provides numerous ear exercises pertaining to each element. These exercises involve
single and multi-voiced dictation, error detection, identification of harmonic quality, root
motion, rhythm, analysis of harmonic progression, transposition, and clef reading.26
Harmony fo r Ear, Eye, and Keyboard by Edward Arthur Heacox is a rigorous
book. The author states that the book can be completed in 120 sixty-minute sessions. It
25George A. Wedge, Ear-Training and Sight-Singing (New York: G. Schirmer, 1922).
26 Arthur Gottschalk and Phillip Kloeckner, Functional Hearing: A Contextual Methodfo r Ear
Training (New York: Ardley House Publishers, 1997).
21
includes many exercises that address the types of aural skill important to the choral
conductor. Like many ear-training books written during the first quarter of the twentieth
century, it focuses on repetitive drilling of each isolated skill, using exercises created
with specific purposes rather than excerpts from actual pieces of music. Exercises
include those where the teacher plays triads in various inversions and the student
identifies which note is in the soprano and/or which note is in the bass, and where the
teacher plays chord progressions and the student writes down the appropriate Roman
numerals and identifies inversions.27
Many sources contain error-detection exercises. There is little agreement on the
most effective method for error-detection skill development. Research does show that
the physical act of conducting may actually inhibit error-detection ability.28 Because of
this, a number of authors suggest that conductors should conduct while performing ear-
training exercises. An even larger number of sources include dictation exercises.
Dictation exercises that involve more than one musical line are very valuable for the
development of multi-track hearing. In fact, studies have shown a greater correlation
between dictation skill and error-detection skill than between sight-singing skill and
error-detection skill.29
71 Edward Arthur Heacox, Harmonyfo r Ear, Eye, and Keyboard (Boston: Oliver Ditson Company,
1923).
28 Deborah A. Sheldon, “Effects of Contextual Sight-Singing and Aural Skills Training on Error-
Detection Ability,” Journal o f Research in Music Education 46, no. 3 (fall 1998): 385.
29 Ibid.
22
Some of the ear-training books most relevant to my project are those that use actual
pieces of music in the pursuit of comprehensive aural development. These books take a
holistic approach and address many of the aural skills important to the conductor. In
Aural Training: A Comprehensive Approach, Vemon Kliewer strongly advocates
contextual ear training. He stresses the importance of the fact that all of the exercises in
his book are complete units of form, if not entire works. The book contains over seventy-
five musical examples drawn from actual pieces of music. Explicit instructions are given
to the teacher regarding how to play the excerpts, either on the piano or stereo. Specific
questions are posed to the student about rhythm, structure, pitch, texture, and other
musical elements.30
In his book Aural Awareness: Principles and Practice, George Pratt identifies the
following topics as neglected areas in aural training: the range and tessitura of
instruments and voices; the density and distribution of sounds and the textures within
which they are performed; the range of timbrai colours, dynamics, articulations, and
phrasing that are possible; the positioning of sounds in space and how they relate to each
other structurally; and above all, the variations in pace at which all these elements may
occur.31
In Ear Training: An Approach through Music Literature Gary E. Wittlich and Lee
Humphries use fourteen examples from music literature, ranging from Dunstable to
30 Vemon L. Kliewer, Aural Training: A Comprehensive Approach (Englewood Cliffs, New Jersey:
Prentice Hall, 1974).
31 George Pratt, Aural Awareness: Principles and Practice, rev. ed. (New York: G. Schirmer,
1922), 3.
23
Dallapiccola. They provide a staggering array of exercises for each, designed to suit the
demands of each piece of music. The nature of the exercises and the questions posed for
each musical example bear a close relationship to the process a conductor would apply to
a piece of music in preparation for performance. Their approach is a fine model of the
process of forming the conductor’s mental-aural image.32
A number of ear-training books focus specifically on the challenges of twentieth-
century music. Modus Novus by Lars Edlund takes a primarily linear approach. The
book contains a multitude of single-line atonal sight-singing exercises, laid out according
to interval content. These exercises would be valuable before engaging in multi-voice ear
exercises of an atonal nature.
Ronald Herder takes a unique approach in Tonal/Atonal: Progressive Ear Training,
Sight Singing, and Dictation Studies in Diatonic, Chromatic and Atonal Music. In the
introduction, he states:
This book is concerned with the development of the inner ear as the foundation of
competent, basic, contemporary musicianship. As musicians, we rely on the
accuracy of this silent interior mechanism of our mind—for, purely physical
achievements aside, the quality of this single greatest possession affects our ability
to hear, to write, to read, to play and sing. To explore our materials and evolve a
set of insights into their nature, Tonal/Atonal sets up a graded series of eye and ear
experiences.33
The book focuses on exercises showing the transformation of a tonal melody into
an atonal one. Herder describes the process as follows:
32 Gary E. Wittlich and Lee Humphries, Ear Training: An Approach through Music Literature (New
York: Harcourt Brace Jovanovich, 1974).
33 Ronald Herder, Tonal /Atonal: Progressive Ear Training, Singing, and Dictation Studies in
Diatonic, Chromatic and Atonal Music (New York: Continuo Music Press, 1973), v.
24
Passing through a miniature set of chromatically altered variations, a simple

diatonic melody from the standard literature is transformed, by the gradual
breakdown of its tonality, into a new melodic shape of highly chromatic, then
atonal, character.34
Ted Hansen divides his book Twentieth-Century Harmonic and Melodic Aural
Perception into two parts, as reflected in the title of the book. The section on melodic
perception provides melodies as ear-training exercises.3S Each melody is in a particular
mode, and the characteristics of each mode are examined. Some of the modes are the
traditional ones, while others are highly unusual. The modes studied include the oriental
mode, the Neopolitan (sic) major, super locrian, octotonic (sic), enigmatic, double
harmonic, Hungarian minor, Hungarian major, pentatonic, overtone, leading whole tone,
8-tone Spanish, symmetrical, and dodecaphonic. Even though some of these mode
names may have been created by the author, the concept that analyzing the pitch content
of a melody will aid in singing it correctly is an instructive one. The section on
harmonic perception consists of twenty pages of atonal chords, intended to be used for
dictation or for practice in the singing of the component parts of a chord.36 These are
excellent chords for the development of vertical aural discrimination.
Michael Friedmann takes a highly theoretical approach in his book, Ear Training
fo r Twentieth-Century Music. The book is structured as a thorough examination of atonal
music theory, focusing on 12-tone rows and pitch class sets. The focus is on hearing
34 Ibid.
35 Ted Hansen, Twentieth Century Harmonic and Melodic Aural Perception (Lanham, Maryland:
University Press of America, 1982), 1-14.
36 Ibid., 15-34.
25
these structures rather than merely recognizing them intellectually. It is a demanding
book, not designed for the faint of heart. The following is a typical exercise:
A trichord within the range of one octave is played. Sing the

major, pentatonic, whole-tone, or octatonic scale to which the three notes of
the trichord belong, accenting the three pitches of the trichord. Begin on the
lowest pitch of the trichord, no matter which scale degree this happens to
be.37
Systematic Studies of the Conductor’s Ear-Training Process
Many studies have been undertaken to examine and measure various aspects of the
conductor’s ear-training process. The majority of these studies have focused on the
development of error-detection skills. They reveal that error-detection skills can be
developed through a variety of instructional methods. The studies that are most relevant
to the development of my ear-training workbook are listed in Table 3 (alphabetically by
author) and discussed below. Complete citations can be found in the bibliography to this
dissertation.
37 Michael Friedmann, Ear Training fo r Twentieth-Century Music (New Haven: Yale University
Press, 1990), 42.
26
TABLE 3. Systematic studies of the conductor’s ear-training process that influenced me

significantly in the development of my ear-training workbook for choral conductors
Title Author
“An Analysis of Factors Related to Choral Teachers’ Carroll Lee Gonzo

Ability to Detect Pitch Errors while Reading the Score.”
“The Design and Evaluation of a Computer-Assisted Error Greg L. Gruner

Detection Skills Development Program for Beginning Band
Conductors Utilizing Synthetic Sound Sources”
“An Investigation of the Relative Effectiveness of Four Richard Frederick Grunow

Modes of Score Preparation on Visual-Aural Discrimination
Skills”
Systematic Score Study: Effects of Four Methodologies on William J. Hochkeppel

irror Det
Error Detection Achievement in Instrumental Conducting
Students”
“An Auralization-Based Curriculum as a Methodology for Marcia Ann La Reau

Advanced Aural Skills Training for Wind Band
Conductors”
“Development and Evaluation of an Approach to Increasing Patrick Richard Malone

Pitch Error Detection Skills in Choral Music Education
Students.”
Patrick Richard Malone38 sets out to demonstrate that practice in error detection
will result in significant improvement in error-detection ability among choral conducting
students. He created six instructional booklets of choral excerpts with adjunct audio
tapes containing errors. The student is instructed to indicate the errors by marking the
38 Patrick Richard Malone, “Development and Evaluation of an Analysis of an Approach to

Increasing Pitch Error Detection Skills in Choral Music Education Students” (Ph J). diss., Florida State
University, 1985).
27
score. The students who participated in the study showed significant gains from pretest
to posttest, indicating that error-detection ability can be improved through practice.
My workbook will contain numerous error-detection exercises. However, I
contend that error-detection ability will improve most rapidly by combining practice in
error detection with other types of ear and score-study exercises designed to help the
conductor achieve aural control over a score and aural acuity in general.
Malone’s research concurred with mine regarding the scarcity of ear-training
materials designed for the choral conductor. He wrote, “It seems that specific, systematic
aural instruction is lacking in choral conducting programs.”39
Carroll Lee Gonzo40conducted a study that compared the error-detection abilities
of undergraduate music education students at the University of Wisconsin with those of
the experienced high school music teachers in the local area. Surprisingly, he found there
to be no statistically significant difference between the two groups. Although the study
was geographically limited and was conducted more than thirty years ago, it does suggest
that without specific ear-training practice, a conductor’s aural ability will not improve.
The results imply that working actively as a conductor might not by itself lead to
significant and limitless aural improvement.
39 Ibid., 5.
40 Carroll Lee Gonzo, “ An Analysis of Factors Related to Choral Teachers’ Ability to Detect Pitch
Errors while Reading the Score” (Ph.D. diss.. University o f Wisconsin, 1969).
28
Marcia Ann La Reau41 developed a methodology for aural-skills training for wind
band conductors based on auralization techniques. By auralization, she means the
perceiving of musical sound internally without external stimulus. To support the theory
that practice in auralization provides valuable training, she cites studies of visualization
techniques in athletes that have proven the value of visualization practice in combination
with physical practice. Her methodology for wind band conductors involves both
“physical” and auralization exercises. The auralization exercises are similar to ones I
have incorporated in my workbook, and I found some of her exercises instructive.
However, instead of providing the student with score samples as I do in my workbook,
her document provides only a written outline of auralization exercises that are to be
applied to any score. For example, one exercise asks the student to “select cadential
points and build the chord from the bass up, chaining together the pitches of specific
timbres.”42 The exercise is to be performed silently, in the student’s mind.
One major difference between La Reau’s methodology and mine is that her
“physical” exercises involve listening to recordings, performances, and rehearsals to
develop both aural ability and knowledge of a particular score. To put it another way,
they involve listening to sounds produced by someone other than the conductor. My
workbook stresses that the conductor should sing the score in various ways to aid in the
development of inner hearing.
41 Marcia Ann La Reau, “An Auralization-Based Curriculum as a Methodology for Advanced Aural
Skills Training for Wind Band Conductors” (Ph.D. diss., Ohio State University, 1989).
42 Ibid., 53.
29
La Reau came to the same conclusion that I did regarding the lack of published
materials to aid the conductor in the development of aural skill. She wrote:
Basic aural skills are taught in undergraduate curricula. However, there appears to
be no literature, specifically for conductors, designed as an on-going development
of those skills necessary for rehearsing and performing from the podium.43
Unfortunately, La Reau’s research does not appear to have led to a published version of
her methodology.
Richard Frederick Grunow44conducted a study to determine the relative
effectiveness of four types of score preparation on error-detection ability: silent study
of the score, study of the score and recording, study of the recording only, and no
studying. He used short examples from the instrumental ensemble repertoire to test the
ability of the subjects to detect errors in recorded excerpts after each had engaged in one
of the four modes of score preparation. I was hopeful that his conclusions would provide
insight into the value of the various score-study methods. However, he concluded that all
four methods were equally effective, including no study. Although his conclusions might
have been different had he used more difficult examples and provided more study time, I
think that one reason the four methods produced such similar results is that they all
involved silent study or listening to recordings. None of the methods involved the actual
creating of sounds by the subjects.
43 Ibid., 6.
44 Richard Frederick Grunow, “An Investigation o f the Relative Effectiveness of Four Modes of
Score Preparation on Visual-Aural Discrimination Skills” (PhJ). diss.. University of Michigan, 1980).
30
Greg Gruner45 designed a computer-assisted error detection skills development
program using synthesized music excerpts and tested its effect on students who used it
during an eight-week treatment period. The students who used the program improved
considerably more from pretest to posttest than did the control group, demonstrating that
the program is indeed effective in improving error-detection ability. However, since the
program was not tested in relation to non-computerized curricula, the relative
effectiveness of the program was not determined. The study, like many I came across in
my research, proved that practice in performing task “x” will improve one’s ability to
perform task “x.” Although such conclusions are intuitive, these studies support the idea
that by isolating various aural tasks and drilling them thoroughly, improvement can be
readily achieved and measured.
William J. Hochkeppel46 performed a study to determine the relative effectiveness
of four types of score study on error-detection achievement in instrumental conducting
students: study at the keyboard, study with a recording, silent study, and study that
included singing the score. Following a pretest, groups of students were each taught one
of the score-study methods. Then they applied that method to the studying of excerpts
from the band repertoire in preparation for a posttest. The results indicated that those
who studied by singing the score and those who studied silently improved significantly
45 Greg Gruner, “The Design and Evaluation of a Computer-Assisted Error Detection Skills
Development Program for Beginning Band Conductors Using Synthetic Sound Sources” (D.M.A. diss..
Ball State University, 1993).
46 William J. Hochkeppel, “Systematic Score Study: Effects of Four Methodologies on Error

Detection Achievement in Instrumental Conducting Students” (Ph J ). diss., Indiana University, 1993).
31
more from pretest to posttest than those who studied at the keyboard or with recordings.
He concluded that “the relative effectiveness found for both the Silent Study and Score
Singing methodologies in this study is reason for stressing these two approaches as topics
for conducting.”47
Hochkeppel observes the similarity between silent study and singing the score. He
noticed that the students in the silent study group were often actually singing the score
under their breath. He also makes note of the fact that the two study methods that did not
result in significant improvement, keyboard study and recording study, are the two in
which it is easiest for students to engage. He observes, “Apparently, with score study as
with many other complex cognitive tasks, the easiest and most pleasant method is not
necessarily the best means for achievement.”48 The results of this study confirm the value
of designing a workbook around the concept of singing the score, using the keyboard
only as a tool to check oneself.
Conclusions
After examining a multitude of books, articles, and dissertations about conducting
and ear training, I have become acquainted with numerous methods and techniques for
the development of the aural skills essential to the high-level choral conductor. Taken as
a collection of materials these sources contain ample exercises, approaches, techniques,
and methods for developing the important aural skills. If one were to perform all of the
47 Ibid., 199.
48 Ibid.
32
exercises in all of the books I have examined, one would certainly come away with a very
well-developed ear. However, I have not found any single volume or course of study tha:
specifically addresses the development of these aural skills in a stepwise and progressive
manner, nor have I found a course of study designed specifically for the aural
development of the choral conductor. Many authors make it clear through the written
word and through sample exercises what the choral conductor needs to be able to do, but
I have found no author who takes budding conductors by the hand and leads them
through the process of aural development.
The studies examining the conductor’s ear-training process were part of the body of
material that helped shape the methodology I employed in my workbook. The
conclusions reached by the scholars whose work I studied were almost always
informative and well supported by systematic testing procedures. It is important, of
course, to test any hypothesis before reaching a conclusion. However, in some cases it
was the systematic testing and analysis of the results that was most impressive, while the
conclusions being supported concurred with those that might be drawn intuitively. It
appears to me that what is needed is not further research into this topic but the
development of resources for the budding conductor that will translate these conclusions
into helpful tools for an individual’s development.
I have drawn a number of conclusions of my own from the body of literature I
examined. Many of these conclusions also concur with those that might be drawn
intuitively. The first of these conclusions is that serious attention to the ear-training
process will result in improved aural acuity for the conductor. Perhaps one of the most
33
important aspects of my workbook is that it could serve as a vehicle to draw attention to
the issue of the choral conductor’s aural training. Although I am committed to the
effectiveness of the particular methods I employ, almost any rigorous course of study that
serves to focus the conductor’s energy on this particular aspect of his or her own training
would be of value.
The second conclusion I have drawn is that for the choral conductor in particular,
ear training is best approached by singing. This philosophy is in accordance with the way
that most undergraduate ear-training courses are structured. Students are usually asked to
engage in sight-singing exercises, and their aural abilities are judged by how well they
can sing melodies at sight. Singing is the tool for improvement, as well as the means by
which the teacher assesses the students’ improvement. We do not evaluate the students’
aural ability by measuring how fast they can learn a tune played on the piano. This fact
demonstrates that there is a general agreement that ear training needs to involve singing.
My methodology extends this philosophy into the realm of multi-voice hearing and
singing.
The third conclusion I have drawn is that the choral conductor’s ear is most
appropriately trained by practicing the ear-related activities that are demanded of choral
conductors in rehearsal. This conclusion is based on the way conducting books and
teachers with whom I have worked approach the ear-training process, and on my
observations of the things good conductors do in rehearsal. The most successful choral
conductors can sing all the vocal lines fluently. They can sing all the vocal entrances and
jump from voice part to voice part. They can demonstrate what notes all the sections
34
should be singing at a given moment by singing all the notes of the chord. They can give
starting pitches without help from the piano once a tonic has been established. And
perhaps most importandy, they can pinpoint mistakes immediately because of the image
of the music imprinted in their minds. It makes sense that an ear-training workbook for
choral conductors would ask the choral conductor to practice exacdy these tasks,
beginning with simple music and moving progressively to more complex compositions. I
have structured my workbook in this manner.
35
CHAPTER HI
AN EAR-TRAINING WORKBOOK FOR CHORAL CONDUCTORS
INTRODUCTORY INSTRUCTIONS
Many conductors use recordings in order to become familiar with various aspects
of a musical score. Listening to recorded performances can be inspiring and valuable,
particularly to discover the nuances of interpretation displayed by various groups under
different conductors. To learn the pitches of a score by listening to a recording, however,
would certainly be an admission of a deficiency in the skills of score reading, sight
singing, and inner hearing, and would be an example of working from the “outside in”
rather than from the “inside out.”
Using the piano to learn a score can be very valuable, allowing the conductor to
hear the pitches of a chord or a musical line and imbed them in the mind. However, even
when we ourselves are playing the piano, we are relying on a sound source outside of
ourselves to tell us what the notes on the page should sound like. The ultimate goal is to
be able to look at a score and hear in the imagination what the printed notes would sound
like, no matter how complex the score. This is a lofty goal, and one that many fine
conductors spend a lifetime trying to attain. One of the purposes of this workbook is to
help bring the conductor toward that goal.
The process employed here can be illuminated by the following story. A young
typist who always looked at the keyboard while typing found that he could not increase
36
his typing speed no matter how much he practiced. He was so hampered by looking back
and forth between the keyboard and the handwritten letters he was typing that twenty
words per minute was his maximum speed. He found that he could not type at all without
looking at the keyboard. Finally, someone suggested that he try typing extremely slowly,
forcing himself not to look at the keyboard. He decided to try it. At first he was quite
frustrated because this slowed him down to ten words per minute, but gradually his
fingers began to find the letters on their own and his speed began to increase. After
several weeks he was back up to twenty words per minute without looking at the
keyboard. To his surprise, his speed continued to increase until after several more weeks
he was typing 45 words per minute!
The key to the young typist’s development was his willingness to regress in speed
while he adopted a new technique. Conductors performing the exercises in this
workbook may be faced with a similar circumstance. To wean ourselves from the use of
the piano and to develop the skill of inner hearing, we need to begin by performing
simple exercises in a slow and methodical way, relying on our own aural skills rather
than any external sound source. For those addicted to learning scores by listening to
recordings or playing them on the piano there may be a period of adjustment.
With this in mind, the following ground rules need to be observed throughout this
workbook:
• Before beginning an exercise or musical excerpt determine the tonic pitch of the
musical example (scale degree 1). This is your “reference pitch.” On the piano, give
yourself this pitch and no other, even if the music does not start on the tonic. The
37
same rule applies if you are resuming work in the middle of an example or at the
beginning of a phrase other than the first. Give yourself only the reference pitch.
• When singing individual vocal lines or vertical sonorities, never play the pitch for
which you are searching. If you need to reorient yourself, play the tonic pitch. If you
absolutely need to check yourself on a particular pitch you are singing, center the
pitch confidently and confirm it by playing it lightly on the piano while still singing
it.
• Do not play melodic intervals (two notes in a row). Use the piano only to give the
reference pitch or to confirm a note you are singing.
38
MODULE 1, SECTION A
Two-part Singing and Hearing
The goal of this section is improved skill in two-part hearing and the achieving of
aural control over a two-voice texture. For each exercise, carry out all nine of the
prescribed steps in order. Remember to give yourself only the tonic as a reference pitch
(see introduction).
Step 1: Sing the upper voice while conducting.
Step 2: Sing the lower voice while conducting.
Step 3: Sing the upper voice while playing the lower voice on the piano.
Step 4: Sing the lower voice while playing the upper voice on the piano.
Step 5: Sing both voices from the bottom to the top.
Step 6: Sing both voices from the top to the bottom.
Step 7: Imagine the upper voice in your mind while conducting.
Step 8: Imagine the lower voice in your mind while conducting.
Step 9: Imagine both voices in your mind while conducting.
Throughout the workbook you will be asked to sing all the vocal lines of music
composed for multiple vocal ranges: soprano, alto, tenor, and bass. No single conductor
will have the range to sing all vocal parts in the intended registers. Get accustomed to
making octave transpositions when necessary. Exercise 1 is presented below, followed
by illustrations of how it would be executed by female and male voices.
39
Exercise 1
Ip .1 1.... 1 # = l
&---------- -O-
} '• rJ f =1
Exercise 1 as performed by a female voice
J..-_= U = J 'f r i° ■ =M |
l t> , =ff=
Exercise 1 as performed by a male voice
t 3------------- P
------------- r r r sx
P
~v------------- ------------- 1
n
Some may find it necessary to switch octaves in the midst of certain vocal lines.
Exercises for this type of octave displacement can be found in Module 2.
For each exercise it is important to complete steps 1 through 4 before attempting
steps 5 through 9. The goal of steps 5 and 6 is to sing both voice parts at once as much as
is humanly possible. With practice, remarkable dexterity can be acquired in doing this.
In homophonic examples steps 5 and 6 entail jumping back and forth from one voice part
to the other after singing only one note of each voice part.
40
Step 5 applied to Exercise 1 (male voice)
i . r |j. r r r ir-r-f r-|f f if f^

In the illustration above, the parallel motion and the regularity of the rhythm allow
steps 5 and 6 to be carried out easily. The rhythm is not particularly important when
executing these steps, although with practice a semblance of rhythmic flow can be
maintained. The next illustration demonstrates the execution of step 6 for a short
exercise that contains different rhythmic patterns in each voice part:
Exercise 2
o .m ., _ ,
0 a
^hg7-,jJ ,r « =i
Step 6 Applied to Exercise 2
p- — o
--- m > .
The lack of a time signature and barlines in the illustration of step 6 highlights the
fact that exact rhythmic values are not important during the execution of steps involving
two-part singing. In fact, it would be beneficial to begin by applying a brief fermata to
each note. Most important are the hearing and singing of the two strands of melodic
activity. We are unfolding the sonorities into one horizontal line, forming a compound
melody. However, the focus should not be on the intervallic relationships between
41
consecutive notes of this compound melody but on the connections between adjacent
notes of the original vocal lines. This involves the use of pitch memory.
To facilitate this aspect of the two-voice singing, work on steps 5 and 6 without the
text at first. Singing a different syllable for each voice part will help greatly in keeping
the integrity of each vocal line clear in the your mind.
Step 6 Applied to Exercise 2 with syllables
Boo bah bah bah boo bah boo bah boo boo boo bah.
Steps 7 through 9 require hearing music in the imagination. The ability to form this
mental-aural image of the music is very important to the conductor. It is the idealized
concept of the music against which the conductor compares the sounds the choir is
making. “Knowing the score” means having this image firmly imbedded in the mind.
When performing step 9 go slowly at first and make sure you are actually hearing both
voices.
Continue with the rest of the exercises in this section, applying all nine steps to
each exercise.
Exercise 3
42
Exercise 4
»—
= £ = 4 = 1 -----
jP Ll* n ---------
Lir 4 r d =* d IJ ■ j - - '1 J.
Exercise 5
Fortune plango vulnera, from Carmina Burana (tenor and bass. mm. 9-16) Carl OrfF
9
o
P------1p p----- p----- P----- 1
\/e - nim est, qitod e - d - tur fi■on - te (:a - f>il - la - ta.
_L---- L_lt—|
13
s ------ a------ p------
sed ple - nim - cue >e - qui - tur (3c - c:a - sio cal - va - ta.
[L-----&__J
N~-f »J -1
Exercise 6
I Sing of Love, from Kiss Me, Kate (mm. 43-50) Cole Porter
ifijh r- 1 , i h
4 s — iN "*------------ 1 J J 1 J. A 1- ■ ■i
For love is the joy of ev - 'ry girl and boy. As
--
U _ J — _[l J L y .— y— y J
k t— h ' - J j J 1
Exercise 7
Gee, Officer Krupke, from West Side Story (mm. 201-208) Leonard Bernstein
201
m
We’re no good. We’re no earth - ly
We’re no good. We’re no earth - ly
good. Like the best of us is no damn good!
good. Like the best of us is

wno damn good!
© Copyright 1956,1957 by Amberson Holdings LLC and Stephen Sondheim.

Copyright Renewed. Leonard Bernstein Music Publishing Company LLC, Publisher
Boosey & Hawkes, Inc., Sole Agent. Reprinted by permission.
The remaining exercises in this section are examples of species counterpoint.
Because of the modal nature of this music the tonic pitch is not always one that would be
expected based on the key signature. In each example the first and last bass note is the
fundamental pitch and should be used as the reference pitch.
44
Exercise 8
First species counterpoint Johann Joseph Fux
vl/ T
ifff
V>kJVJ
c
c
•/
Exercise 9
First species counterpoint Johann Joseph Fux
------ "O
l>r»
Exercise 10
Fourth species counterpoint Heinrich Bellerman
mm
....
:
u o
,«•
A
[f=^=i
Exercise 11
First species counterpoint (transposed) Johann Joseph Fux
o rO---- 1
45
Exercise 12
Fifth species counterpoint (transposed) Johann Georg Albrechtsberger
v -* -- - 1
[— — i— LM t = r li 1r jj J jJ1Hu 4t ejy==rp==Ft
^ L _ o ------- L
Ur---- ---- ——LJ— »f | k'
Exercise 13
<>
It
r\
0 0 u ^ TT
0 it
0
Exercise 14
* = =
46
Exercise 15
First species counterpoint (transposed) Heinrich Schenker
* 8=
XT
Exercise 16
Fifth species counterpoint (transposed) Johann Joseph Fux
m ■j ■i - ij j r fr J r e sfe l
1 V # =
U ------------------------------Le-----------------------------1
J
-e- XX
if^ lt u | = f
f ff >J - L ° =
\ l * t f =f
o
° ° X
T
Exercise 17
First species counterpoint (transposed) Johann Georg Albrechtsberger
I ■■ r°— i
— 1
1 1
I O - -i O °
47
Exercise 18
1 % -? ■
§ * -%
L e ----------------- i u
XX
L e ----------------- ^
jL ^—
| - - 1
n ^ - ^
Lo -o- XT
J — p - p - . 2; h -- „ l -
r it
•J N f ~
Exercise 19
Second species counterpoint (transposed) Johann Joseph Fux
I fyfya ft ■ ?
P
a(E
X f“
48
Exercise 20
U ¥ » n ,1.
•O' -e-------- u o ---- jy
- 1 F = ^= f -j*— p = -----=—
Exercise 21
Fifth species counterpoint Johann Joseph Fux
M r * 1
--------------- 1
^ ___ p V m -------- v #■ f3 r3 o O
Exercise 22
J jtr j j 1 ^ i «L JUs)---j—J—L —• y--#--*■
49
Exercise 23
Second species counterpoint (transposed) Johann Georg AJbrechtsberger
f r + T J J 1 U = ± = * = i: J = # = U : s *
f ^ =
I P'
f = ] "P*------------r p~
U_ 1
s
I t 1 1 1
f j J J 1J -J— L- 1i J J 1j r ^ j j "
p-
^ = i f#— f
Exercise 24
First species counterpoint (transposed) Heinrich Schenker
iri «.
— J u •o-
pk.------------- ---- -o-

K
Exercise 25
Third species counterpoint (transposed) Johann Joseph Fux
> ■>, L . -------------- — j , r -h r j j , ± f 0

^ - r r r |J r r r-t
50
Exercise 26
■I.- ----
Exercise 27
Third species counterpoint (transposed) Luigi Cherubini
J j Ij
p T T ' 1 ^ 5^
"i- - - - Jn. r
, I 1 j
i i
;J , J
j
p p r
j j J J J *
H J J J ^ 1 * J J J J J *
51
Exercise 28
Fourth species counterpoint (transposed) Johann Georg Albrechtsberger
p m * r J i d ^ — 1-------- “
-o -= ----------------- 1-
1 L ‘1 ° -------
U*
c ..
—
t -
[ - f - J
r
^ J
y tH -------------
(1
....
Exercise 29
First species counterpoint (transposed) Johann Georg Albrechtsberger
=
XT XT XT
Exercise 30
Second species counterpoint (transposed) Heinrich Schenker
n. » =
i? --U
r r i r r r ir r ^
r -F -f I f r 'l
r ir r r i K - r ir r r
52
MODULE 1, SECTION B
Error Detection in One Voice Part: Student Section
The Student Section is comprised of single-voice musical excerpts containing no
errors. The Teacher Section contains the same excerpts with circled errors scattered
throughout. These exercises may be used in a variety of ways:
• A conducting class sings a flawed excerpt found in the Teacher Section. One student
conducts and tries to detect the errors while viewing the unflawed version of the same
excerpt found in the Student Section. The conductor stops and corrects each error as
it is heard. A complete correction includes pinpointing the location of the error and
stating specifically what note the group was singing in place of the correct note. The
conductor and the group resume at a convenient place preceding the error just
corrected. The group sings the correct notes until reaching the next uncorrected error.
• In a conducting class or a private lesson, the teacher plays or sings the flawed excerpt.
The class members or private student view the excerpt in the Student Section and
circle the pitches that are flawed, indicating also the exact nature of each error.
• Two conductors can work on these exercises together, taking turns in the roles of
teacher and student.
For any of the methods described above there are two options: the exercises can be
done at sight, or after the conductor has formed a mental-aural image of the music. If the
latter method is chosen, the conductor should form the mental-aural image by singing the
excerpt, using the piano only to give the tonic as a reference pitch. Avoid learning the
vocal lines by playing them on the piano.
53
Exercise 1
Plainchant: Surrexit Dominus
1Sur - rex - - - it_ Do - - - - mi - nus,. et ap -
pa - ru - it pe - tro, al
le lu la.
Exercise 2
Help I Fall (alto, mm. 15-26) Thom as Morley
is
3
~^ ^
Help I fall, I fall. La - dy, help I fall, my hope lo doth be
tray O help I fail* I fail a - las, a -

23
O
las I fall, but you vouch - safe to slay me.
Exercise 3
Credo, from Theresienmesse (soprano, mm. 3-12) Franz Joseph Haydn
3
a $ <>. h k n . i P r > \ t
^ J r m * 11 H L t — — Lp— r r
Cre - do in u - num De - urn. Pa - trem o-mni - po - ten - tern, fa -
— frf— — m r \ r — 1-------------r —m ~ r n . n = ^ = i
% r ^ L f J 1r J L T >-J-~ r J r i
cto - rem coe li et ter - rae, v i-si - bi - li-um o - mni-um.
54
bi - li-um. in - vi - si - bi - li-um
Exercise 4
Salvator mundi (soprano, mm. 1-13) Thomas Tallis
dcr
m e£
Sal - va - tor mun-di, sal - va nos, sal - va_
—*- ^
nos, sal - v; nos. sal - va - tor mun-di, sal - va nos.
F T ,- h~| "1 — ~ \ r J 1—
— ^
t r f--J L -j r J J
sal - va_ nos, sal -
to
$ m
qui per cru - cem et san - gui - nem re - de - mi - sti__
12
-j— j j j- j j j
nos, re - de - mi Stl- nos.
Exercise 5
Gloria Patri, from Magnificat in D (tenor, mm. 1-19) Johann Sebastian Bach
/T\
- ri - a et Spi - ri - tu - i san cto!
Exercise 6
Credo, from Missa solemnis, op. 123 (bass, mm. 381-399) Ludwig van Beethoven
i m
383
m m m
et vi - tam ven - tu - n
386
sae
r -
1 p't
cu-li. a - men, a - men, a -
r-T
men, a -
i s r-tin
f > * ir r ft n r r r f
men. men, et
391
vi - tam ven - tu - n sae - cu-li, a -

393
men, a men, a
395
in
#•
men.
397
men, a - men, a - men, a - men, a - men, et vi tam.
56
Exercise 7
Judex crederis, from Te Deum (bass, mm. 91-102) Hector Berlioz
m
%■-4 -1
0 x \ 0
r L-f r~n
Sal - va hae - re - di - tat - tem tu - am, do - mi - ne.
95
0^ 0 r
\ - j [ p-— —i
Per sin - gu-los, per sin - gu-Ios di - es
be - ne - di - ci-mus, lau - da - mus te. Do - mi-ne.
57
MODULE 1, SECTION C
Error Detection in One Voice Part: Teacher Section
The excerpts in this section correspond to those in Module 1, Section B: Student
Section. Here in the Teacher Section the excerpts contain circled errors. The correct
pitches are indicated just outside the circles.
Exercise 1
Plainchant: Surrexit Dominus
Bb R
f e - irr- -(^ )
m
Sur - rex - - - it_ Do nus,_ et ap
k a B B
0 - 0 - ( 0 - 1 0
pa - it pe - tro. al
C
te lu
Exercise 2
Help I Fall (alto, mm. 15-26) Thomas Morley
h
jL \, &
u
-- -------- :-- /'N---- ,- «*>TT^PS-'KJ ■ r(7 \ = 1
* = * H * J Q~J i
vy J — 1
Help I fall. I fall. La - dy. help I fall, my hope Io doth be -
F
. H —
-J- #Jr Ji (T) i
,1
r ”■^ ^
tray O help I fall, I fall a - las, a -
las I fall. but you vouch - safe to slay
Exercise 3
Credo, from Theresienmesse (soprano, mm. 3-12) Franz Joseph Haydn

3 »
db
n , i p
m
Cre - do in u - num De - um. Pa - trem o - mni - po - ten - tem. fa
Bl>
)> Um fr
J~ 3 r i==i
Q M J- U P
cto rem coe li el ter vi - si bi - li - um o
li-um.
Exercise 4
Salvator mundi (soprano, mm. 1-13) Thomas Tallis
R
Sal - va - tor mun-di* sal - va nos. sal - va
nos, sal va sal - va tor mun-dT sal va nos.

A R
sal va va nos.
59
qui per cm cem et san grn - nem mi sti—

12
nos, re - de - ml - sti___________________ nos.
Exercise 5
Gloria Patri. from Magnificat in D (tenor, mm. 1-19) Johann Sebastian Bach
60
Exercise 6
Credo, from Missa solemnis, op. 123 (bass, mm. 381-399) Ludwig van Beethoven
R R
383 „
et vi - tam ven - tu - n
Ai! Bb
386
cu-li, a -
m
men, a men, a -
r r
men, a -
lt r p '
men. men. et
cu - h, a
men. a men, a
men.
397
men, a - men, a - men, a - men, a - men, et vi - tam.
61
Exercise 7
Judex crederis, from Te Deum (bass. mm. 91-102) Hector Berlioz
o
r T
— — --k-k ^ —
Sal - va hae - re - di - tat tem tu - am. do - mi - ne.
Ai>
Per sin gu-los, per sin - gu-los es
G!> At
be - ne - di - ci-mus, lau - da - mus te. Do - mi-ne.
62
MODULE 1, SECTION D
Intervals in a Tonal Context: Major Keys
In this section you will work with intervals in the aural framework of the major
mode. Each exercise presents intervals formed by diatonic pitches of a particular major
key. By working with intervals in the tonal context you will acquire a strong sense of the
scale degree function of the individual pitches of each key. Therefore, these exercises
have two purposes: the placing of the pitches into a tonal context, and the measuring of
the distance between the two pitches of each interval.
This dual approach to the singing of intervals has important implications for our
sight singing. When we sing a tonal melody, we can determine each pitch by its
relationship to the preceding pitch, or by determining the scale degree function of each
particular note. An educated and experienced musician will learn to combine these two
approaches into a smooth sight-singing technique. When music moves stepwise or in
small skips, an intervallic approach works well. For larger leaps, an awareness of scale
degree function will prove to be more successful. For instance, in the context of C major
the ascending interval from B to F may be difficult to perceive quickly and in tune using
a purely intervallic approach. However, if the musician has a strong sense of scale
degree function, he or she will know that F is scale degree 4 in the key of C and will
immediately be able to locate the pitch.
When describing the scale degree function of particular pitches, you may use scale
degree numbers (1 through 7) or the solfege syllables of the “movable do” system. (If
you are not experienced in “movable do,” this would not be a good time to begin working
63
with this system.) Throughout the workbook, scale degree numbers will be used to
indicate scale degree function since “movable do” syllables will be disturbing to those
who use the “fixed do” system.
Work with the interval exercises in the ways described below. Always tonicize the
appropriate key by playing the tonic pitch on the piano, then singing the scale up and
down with numbers or “movable do” solfege syllables. When naming the interval size,
indicate numeric size and interval quality (major, minor, perfect, diminished,
augmented). Reduce compound intervals to their simple equivalents, i.e. a tenth will be
referred to as a third.
1. Working with a partner, one person plays both notes of the interval
simultaneously. Without looking at the exercise the other person states the
scale degree function of the two pitches, the letter names of the two pitches
(including accidentals when appropriate), and the interval size. After
responding, sing scale degree 1 before moving to the next interval.
2. Working alone, establish the key, play the lower note, then sing the upper note,
or play the upper note, then sing the lower note.
3. Working alone, establish the key, then sing the two notes of each interval from
bottom to top or from top to bottom, using the scale degree number or
appropriate syllable for each pitch.
4. Working alone and without singing, name the exact size of each written
interval.
64
C Major
I 2 3 4 5 6 7 8 9 10 II 12 13 14 15 16 17 18 19 20 21
TT
'F $ = \
u
O n n
-Q _ n i-O — |
r fi-n
■v O
G Major
l 2 3 4 5 6 7 8 9 10 II 12 13 14 15 16 17 IS 19 20 21
rr^ i
rf> M = i
4 = ^ LU"
n -Q. & O'

TT O a
r fr i
K O
D Major
1 2 3 4 5 6 7 8 9 10 II 12 13 14 15 16 17 18 19 20 21
r O -i
rfi£%==] rrri
IO
O I o o ft f O —| o
f*=|
u o o
A Major
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
-ePr
E Major
I 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
i O i O II r t —r------- ---------------- 1 ^ 1 o P i 11 _ 1 1 1 1 I -
=a=
Tr
65
i Major
I 2 3 4 5 6 7 S 9 10 11 12 13 14 15 16 17 18 19 20 21
o A
-8-
1 U
-r-v. a ------- S ii O
-*■—H-flfr~oH
-*)-
a
TX"
F Major
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
f#=i fO-] O rO—
l-o 1 O
o rrî iO I i-O—1O O
v o A O
B-flat Major
l 2 3 4 5 6 7 S 9 10 II 12 13 14 15 16 17 18 19 20 21
4 = ^ o u
o o n rO—| o
|_L—Z------1 o “O-
E-flat Major
I 2 3 4 5 6 7 8 9 10 II 12 13 14 15 16 17 18 19 20 21
rO—l o o n
\ l
TT"^Lu
o rO—|o O
XT
A-flat Major
I 2 3 4 5 6 7 8 9 10 II 12 13 14 15 16 17 18 19 20 21
o
c ,i
rO—i---- 1
.t 1
F#=l
u O O Lo—1 o Lo-J
r* o
OI
K L-e—1 o TT
66
D-flat Major
1 2 3 4 S 6 7 g 9 10 tl 12 13 14 IS 16 17 18 19 20 21
O | o
M A .K .= n
_o J L eJ 0 —1 *■I P
-o
_Q .
r8 !
4^ u
67
MODULE 2, SECTION A
Exercises in Octave Displacement
One of the challenges of multi-part singing is the demand it puts on the conductor’s
voice. Naturally, every conductor will find some vocal lines that lie too high or too low
to be sung in the correct octave. It is still important to sing all of the vocal lines of a
score in some manner, and you need to become fluent in changing octaves when
necessary without losing the flow of a vocal line. A number of exercises are provided
here to help in adapting to this process.
Exercise 1
Presented below is the first half of Ode to Joy by Beethoven. For each example,
sing what has been notated and then continue the appropriate process for the rest of Ode
to Joy. Use any syllable or text with which you are comfortable.
Example A: Ode to Joy in one register
£
ma
Example B: Ode to Joy switching octaves after four-measure units

m
# * iF n f f f j P- f=\
9 W+ " *9 0 '
Example C: Ode to Joy switching octaves after two-measure units
68
Example D: Ode to Joy switching octaves at each barline.

0* m„__,
,
l h J J fi=t=f=F *---
— \\
9 9~ ■ ' 9' 9 -9—" 1
Example E: Ode to Joy swit ching octaves after two-beat units
l h 11 r f i *j # 1 1 jrr
# J -----
_i _i r r » a V -\
■9 9 ----- LP 9 \—n
f N Jl
Example F: Ode to Joy swit<:hing octaves after each note
l h - \ r j f i ■j-r-ir r-4 f-J

ft * j l J 1 J l ** * d—L 1—J.-L P—L
9“
Apply the same processes to some simple tunes that you know extremely well.
Children’s songs, hymn tunes, or folk songs are ideal. It is not necessary to write them
down. You will find that the process is more difficult with melodies containing many
skips. Try the American National Anthem.
Exercise 2
Sing the following scales and arpeggios as written, then try switching octaves after
each note. Perform them two different ways: starting in the upper register and jumping
down to the second note, and starting in the lower register and jumping up to the second
note. Go slowly, taking the time to center each pitch.
J. ^ f T ;=f T ir r 1 1 i M
-hi- P , -9 -- m
-- 1--m =-- 9---
-- P -- t-m
r--
- - -^--
- - - 9-----
- - - - ire
7 1 J J J 4- r r r r j ir = n
ff r r= F = ff —t r r \.
ir J- I N j1 jI j| F=ft
i» - = b
69
< ■ ):,
9
1 J
r~r~J =r=f "O
j «!-rr 1
(•
----------------------------- H
O 11
r r r J - ° ----------------------- 1
-----------------------------1
Exercise 3
These four single-voice excerpts are from Cantata no. 142, Uns ist ein Kind
geboren, attributed to J. S. Bach. Sing each exercise a few times as written, then try
switching octaves at each barline, and then after each note. Perform two ways: starting
in the upper register, or starting in the lower register. Go slowly, taking the time to center
each pitch.
Chorale (soprano, mm. 7-23 with rest measures omitted) J. S. Bach
P P
AI - le - Iu - ja. A1 - le - Iu - ja, ge - lo - bet sei
Gott, sin - gen wir all' aus un - sers Her - zens Gran - de;
Ich will den Namen (alto, mm. 1-8) J. S. Bach
Ich will den Na
ben. lo ben.
Uns ist ein Kind geboren (tenor, mm. 1-5) J. S. Bach
Uns ist ein Kind ge - bo - ren. ein Sohn ist uns ge - ge
70
f c r p 9 : 0 .p _ _ p .._ € Z j - U _ » -
ben, ein Sohnist uns ge - ge - - - ben.
Jesu, dir sei Preis (alto aria, mm. 6-16) J. S. Bach
I
Je - su, dir sei Preis, Je - su,___ dir sei Preis—ge - sung - en,
i J " 5 J - J i l J i - 1- i
denn ich bin---------- dutch,dich er - lost, Je - su._
n j | j j i h i i > n j i
dir sei Preis ge - sung - en, denn ich bin___________ durch—dich er -
10
•$"J J‘ ^ Jl- J y . ■■ J - i - U i — 1 ~ ii
lost. denn ich bin durch dich er - ISst.
Exercise 4
When you are singing two voice parts, the tessitura of the parts in relation to your
vocal range may necessitate singing the two parts in a crossed manner. The resulting
inverted counterpoint will not sound exactly the same as the music sung in the proper
registers, since all of the intervals will be inverted. When imagining the voice parts
rather than actually singing them, you will be able to hear all voice parts in the proper
register.
For practice, sing both parts of the following carol (steps 5 and 6 from Module 1,
Section A). Then go back and sing the descant in the register below the melody rather
than above it.
71
O Come, All Ye Faithful (verse 6) Arranged by David Willcocks
dfc
D escant
6. Sing,
P 'choirs
Li of an Sing in ex - ul -
gels..
M elody
ET-
6. Sing, choirs of an gels, Sing in ex - ul -
J . I J
ta - tion. Sing,------ all ye cit - i - zens of heav'n-
$
ta - tion. Sing, all ye cit - i - zens of heav’n.
m
bove; Glo ry in— the
= 3^
bove; Glo ry to God in the.
~w~
high - est: O come. O come.
high - est; O come, let us a - dore him. O

r ir come, let us
r r ia - dore him, O
P let us a dore. h im . Christ the Lord.
come, let us a - dore him.. Christ. the Lord.
© 1961 Oxford University Press, London. Used by permission. Ail rights reserved.
72
MODULE 2, SECTION B
Two-part Singing and Hearing
We will continue our inquiry into two-part singing and hearing by applying the
techniques learned in Module I to longer and more complex two-voice excerpts from the
choral repertoire. The two voice parts provided in each exercise represent the full vocal
texture of the selected measures.
Apply the nine steps learned in Module I to each of the following exercises. The
steps are listed again below for easy reference. Additional steps and/or suggestions are
provided for each exercise. If you are beginning to gain confidence in two-part singing,
feel free to include the text even when performing steps 5 and 6.
Step 1: Sing the upper voice while conducting.
Step 2: Sing the lower voice while conducting.
Step 3: Sing the upper voice while playing the lower voice on the piano.
Step 4: Sing the lower voice while playing the upper voice on the piano.
Step 5: Sing both voices from the bottom to the top.
Step 6: Sing both voices from the top to the bottom.
Step 7: Imagine the upper voice in your mind while conducting.
Step 8: Imagine the lower voice in your mind while conducting.
Step 9: Imagine both voices in your mind while conducting.
73
Test your aural control of each exercise with the following game: while conducting,
sing the top voice for one measure. At the first barline, switch to the lower voice for one
measure without breaking the rhythm. At the next barline, switch back to the upper
voice. Continue this procedure to the end. Then go back and do the same starting with
the lower voice. This game is particularly enjoyable for two people to play together, one
starting with the upper voice the other with the lower. Trade parts at each barline. For an
easier version of the process, have a small group sing the two voice parts continuously
while the conductor switches back and forth. These games provide excellent practice in
multi-part hearing and singing.
Exercise 1
An die Nachtigall by Schumann is for soprano and alto voices with piano
accompaniment. Since it is in C major, the reference pitch should be C even though the
piece does not begin with tonic harmony. Hang on firmly to the reference pitch, since the
piece modulates back and forth to the dominant. It is acceptable to play the reference
pitch when necessary to reorient yourself aurally. More and more, however, try to
emblazon the reference pitch in your mind at the outset so that even if you become
disoriented somewhere during your work, you can still locate the reference pitch without
playing it. Some conductors have found that the reference pitch can become so strongly
associated with a particular piece that the pitch will pop to mind by merely thinking the
title of the piece!
74
Keeping the reference pitch in mind can be very useful in rehearsal. We have all
been in the situation where, as conductors, we need to ask the accompanist to give us a
particular pitch so that we can demonstrate something to our choir. This should certainly
not be forbidden since no conductor would want to sing a vocal line out of tune or
starting on the wrong pitch. Ideally though, we should not have to ask for a pitch if we
are in the midst of rehearsing the piece. If the tonic is firmly in mind, we should be able
to sing any vocal line in the piece without asking for a pitch.
To increase your awareness of the tonic, perform the following exercise in addition
to the nine steps: perform steps 5 and 6, pausing to sing the tonic triad (C-E-G) at each
point where there is a snowflake above the top staff.
An die Nachtigall Robert Schumann

*
Soprano
1. Blei - be hier und sin - ge. lie - be Nach- ti - gall!

2. Flur und Wal - dung lau - schet. al - les hon dir zu.
Alto
1. Blei - be hier und sin - ge. lie - be Nach-ti - gall

1 Flur und Wal - dung lau - schet. al - les hon dir zu.
*
mm m ■
0 —T>
£
Dein Ge - sang er - klin - ge schmet - temd Q - - ber - all.
nichtein Biatt - chen rau - schet, blei - ben all__ in Ruh.
Dein Ge - sang er - klin - ge schmet - temd Q - - ber - all.

nichtein Biatt - chen rau - schet. blei - ben all__ in Ruh.
75
*
£
H8r ich recht. so brau-set min - der jetzt der Bach, da hier Slil - le
H5r ich recht. so brau-set min - der jetzt der Bach, da hier Stil - le
* *
haus - et, lilsst sein To-ben nach. Blei - be hier. b le i
~a----------- —m------- »
haus - et. ISsst sein To-ben nach. Blei - be hier. b le i
*
£
be hier und sin - ge, lie - be Nach-ti - gall! Dein Ge -
is be hier und sin - ge. Lie-be Nach-ti - gall! Dein Ge -
sang— er - klin s c h m e t - te m d il ber - all. Flur und
sang er - klin - ge s c h m e t - te m d tt ber - all. Flur und
36
£
Wal - dung lau - schet. al - les hOrt dir zu. nicht ein
Wal - dung lau - s c h e t. al - le s hO rt dir zu. nicht ein
76
T fL r ft ~w=\ n f —
Blatt - chen rau - schet.

L-P—
blei - ben
=-L--------
all
P = fm Ruh.
i7s ____
a j h ' -N - m ---- ^ -
- J --------------------
ir
J j
Blatt - chen rau - schet. blei - ben all______________ in Ruh.
Exercise 2
Ave Maria by Leonin is in the mixolydian mode built on C. It will be helpful to
notice that the work contains no chromatic notes and no notes outside of the mode. Use
C as the reference pitch. After familiarizing yourself with the music by working through
the nine steps, try pausing to sing C each time there is a cadence on a note other than C.
Ave Maria Leonin
Tenor 1
A - ve Ma - ri - a_
i i
Fons Ie-ti - ti - e.
m
Vir-go pu-ra. pi - a_
T enor 2
r • 'r
T 1
m
Vas mun-di - ti - e.. Te vo-ce va - ri - a So-net so-bri - e
T2
T 1
Gens le-ta so-bri - a Gau-dens va - ri - e Pro - mat ec-cle-si-a
T2
r t
77
Tl
Lau-des Ma-ri - e. So-net in ma - ri - a Vox ec-cle-si - e. Hec sol-vit
T2
Tl
scri-ni-a Y - sa-i - e. Re - se - rans o - sti-a Clau-sa pa - tri-
T2
32
Tl lf £ n ,. r r * m —
f "
e.
*
Vi - a dans ex - i - mi-a
l- l j L B -
Re - gem glo - ri e. Qui— so - la
T2
W - J- *
38
Tl I f r f t r rrp ^l P m m - -m i - . m m. «r
i f .p r p< -4^ If *-^fl
f - 1
gra- ti - a Ple-nus gra-ii - e. Fa - ct us est ho-sti-a Fi-nis ho-sti e.
T2
1 1J• J* • ti-----1 jJ - ^ "I
Exercise 3
Flowing contrapuntal lines present unique challenges to the conductor engaged in
multi-part singing. When working on this excerpt by Josquin, try to hear the long notes
sustaining in your ear even after you release the notes to switch to the other voice part.
At first, sing “bah” for the lower voice and “boo” for the upper. With practice this
excerpt can be performed almost in rhythm at a very slow tempo.
78
Gloria, from Missa N'auray je jamais (mm. 66-87) Josquin Des Prez
66
A lto
- o~ i
Do ne ft m- ge -
Bass
Do mi - ne f i -
72
—-r 1y=#=j
J• —
r r^
W* U
"f\ 'm 'P *
ge
-----1-- (9--1
m - te Je
£■■■ n
r 'r m r
P
su Chris - - - - - - - - - - - te.
Chris te.
Exercise 4
The two voice parts presented here represent the full texture of Wachet auf by
Praetorious. Steps 5 and 6 are particularly challenging when working with two voice
parts of such independence. It is useful to perform steps 5 and 6 slowly with no attempt
to maintain the rhythm, and even more useful to perform the aforementioned part-
switching games.
79
One additional exercise is recommended that will aid in the cueing of entrances and
increase your aural control over the two-part texture. While conducting, sing all the
entrances of both voice parts. Continue singing one voice part until the other voice part
has an entrance following a rest. You will find measures 11 through 13 particularly
enjoyable!
Wachet auf (mm. 1-16) Michael Praetorious
Soprano I \
Wa - chet auf.
= i
1 J J °—
wa - chet auf
J
ruft uns die Stim -
Soprano 2 ■ j j j i- ■ * J r i[L i r r J * j j=;M

Wa - chet auf. wa - chet auf_______ ruft uns die
4
S 1 M - - - » = ^ = j- J —F ----- ------------- J —
r J r J t — k-l
me, ruft uns die stim - me. ruft uns die Stim - me.
S 2 J
J
1 , I
J
J u =
= 1
j
h -f J I J j=
Stim - me. ruft uns die Stim - me, der

7
S I
der Wach ter sehr hoch auf der Zin wach auf du Stadt Je
S 2
Wach - ter sehr hoch---------------- auf----------- der Zin - nen, wach auf du
10
ri
S 1
a ... i i ---- J —1 * m
ru - sa - lem, w a :h auf du Stadt Je - n: - sa - leit i , w a c h a u f, w a c h a u f, w ach-
S2 |= i I" "m 1
J J j i - J : 7 ^ 14 = ^ L--,P-1 * f r = i
Stadt Je - ru - sa - lem. wach auf du Stadt. wach auf. wach auf, wach auf.
80
M-Wv- gJ-------
\ *i —■-------
J r HJ — - J*-—-
i U _ = J
J J-e- 4
auf wach auf du Stadt k - ru-sa-Ienn. Je - ni sa - lem.
\ l ) , y ) , r F=(= ^ _ ..m ..J. ...J

W*------ i - 4 — 4 - -o-
wach auf. wach auf dii Stadt Jei - ru-sa-Iena. Je ru - - - sa - lem.
81
MODULE 2, SECTION C
Error Detection in Two Voice Parts: Student Section
The Student Section is comprised of two-voice musical excerpts containing no
throughout. These exercises may be used in a variety of ways, as described at the
beginning of Module 1, Section B.
Exercise 1
Sieh, wie ist die Welle klar, from Liebeslieder Walzer Johannes Brahms
Tenor
r i i t i
Sieh. wie ist die Wei - le klar. blickt der Mond her - nie - der!
£
Bass
Sieh. wie ist die Wei - le klar,

m
blickt der Mond her - nie - der!
Die du mei - ne Lie - be bist. ___ lie - be du mich wie - der!

* ------------ m— frf * f f rj 1 f —
Die du mei - ne Lie - be bist, lie - be du mich wie der!
Exercise 2
Gruss (mm. 3-17) Felix Mendelssohn
Soprano 1 ip ^ E p
Wo-hin ich geh' und schau - e in Feld und Wald und Thai, vom
Soprano 2
Wo-hin ich geh' und schau - e in Feld und Wald und Thai. vom
82
si
j . J J u J y
¥
HU-gel hin - auf die Au - e, vom berg auf-wSrts weit in's Blau-e. griiss' ich dich tau-send-
P
HU-gel hin-auf die Au - e. vom berg auf-warts weit in’s Blau-e,
SI
mal! gross’ ich dich tau-send mal, griiss'__ ich dich tau - send mal!
griiss’ ich dich tau-send - mal, tau - send - mal, griiss'

w
ich dich tau - send - mal!
Exercise 3
Flammenauge, dunkles Haar, from Neue Liebeslieder Walzer (mm. 2-44) Johannes Brahms
Soprano
Flam - men-au - ge. dunk - les Haar.. Kna - be won -
A lto
•t) rrir t
Flam - men-au - ge. dunk - les Haar.- Kna - be won -
—
—i---------- p r —I P - V- } J m). . i
- ig und— ver—
^ ciif-
WO - gen. Kum - mer ist dutch dich
-M
hin -
bfy-Jvn r - r i 1 1 \
ig und ver wo - - - gen.
rra -T v > . i ■ h ^ , h i n
•• ...F r y
ei n in mein ar mes Herz ge zo - gen.
—— -_h i—
= * = i f— 14
'-j J T *
Kum - mer ist durch dich hin - ein in mem ar -
83
(Iff - 1 rP -------irs— i --------- f-fcz ----

LC— f 4 Z
% = - J [r
in mein ar - mes Herz ge - zo - gen! Flam - men-au -
a -m i} — *=
i p --------- ---------^ —4j =
\-W T -A
-mes Herz ge - zo gen. ge - zo - - - gen!- Flam - men-au -
r f ^ — n— »------ Fe_a n n i
U — p - i_
- ge. dunk - les Haar, Kna - be won ig und__ver -
U j j p -ih r _ht->— 1 "tW*----- IT'* m ~ n r 'A n r— r

H - — t ~ M'J *
ge, dunk - les Haar._ Kna - be won - ig und ver
28
wo -
m- - gen. Kum - mer ist durch dich hin - ein
i J-
wo - -
■p ir
- gen.
* 1 r M
Kum - mer
r
ist
r
durch
i r - - J
dich hin - ein
ir
in mein ar - mes Herz_ ge - zo - - - gen.
in mein ar - mes Herz ge - zo -

r - M r gen!
in mein ar - mes HerzJ ge - zo - - - gen!
84
Exercise 4
Wtr eilen mit schwachen, doch emsigen Schritten, Johann Sebastian Bach
from Cantata no. 78 (mm. 51-60)
Soprano frJ? i> ,4 r hp- m 0 — F---- it F— 'm - m--- 0 ------Pi H 1 9s------------------- m--- 0 —
L r r -p p 1 r f i J ^
Du su-chest die Kran-ken und Ir - ren-den treu-lich. die Kran - - - ken und
Alio YJt ^ ,4 » h K J
i J' J J 1 g'
W ■ e *
Du su-chest die Kran-ken und
54
F ---- M
i t e r r ---------------- M - i m f p ^ - i r y ~
Ir - - - ren-den treu - lich. die Kran - ken und Ir - -
i h i= p = i ~. , >.J..A
- > i fcny A l J_________
' K r=f
m ± - j j j = m __£___J r w g g wr, ,g j L
Ir - ren-den treu-lich. du su - chest die Kran - ken. du su - chest die Kran - ken und
- ren-den treu - lich. die Kran - ken und Ir - ren-den treu

¥- lich.
m
Ir - ren-den treu - lich, die Kran - ken und Ir - ren-den treu - lich.
85
MODULE 2, SECTION D
Error Detection in Two Voice Parts: Teacher Section
The excerpts in this section correspond to those in Module 2, Section C: Student
Section. Here in the Teacher Section the excerpts contain circled errors. The correct
pitches are indicated just outside the circles.
Exercise 1
Sieh, wie ist die Welle klar, from Liebeslieder Walzer Johannes Brahms
E* At
T enor
P ,U M
§
Sieh. wie ist die Wei - le klar,
8
blickt der Mond her - nie - der!
Bass
Sieh. wie ist die Wei - le klar, blickt der Mond her - nie -
i
der!
der!
B
Die du met ne der!
Exercise 2
Grass (mm. 3-17) q Felix Mendelssohn
Soprano I
±=
Wo-hin ich geh’ und schau - e in Feld und Wald und Thai, vom
Ai>.
Soprano 2
m* m m
Wo-hin ich geh’ und schau - e in Feld und Wald und Thai. vom
86
HQ-gel hin-auf die Au - e, vom berg auf-warts weit in's gross' ich dich tau-send-
S2
HO-gel hin-auf die Au - e. vom berg auf-warts weit in’s Blau-e,
SI
mal! gross' ich dich tau-send mal, gross'__ ich dich tau - send mal!
F/~
S2 £
gross' ich dich tau-send - mal, tau - send - mal, gross' ich dich tau - send - mal!
Exercise 3
Flammenauge, dunkles Haar, from Neue Uebeslieder Walter (mm. 2-44) Johannes Brahms
■»
rt , _
Soprano
Ram - men-au - ge* dunk - les Haar. Kna - be won -

GS,
Alto
Flam - men-au - ge, dunk - les Haar,-

P§P
Kna - be won -
m m JU I J1 J
- ig und ver wo - gen. mKum - mer ist durch dich hin -
Bl>.
i p s
ig und— ver wo - -
*
- gen.
r\x \ i > irin J T ~ P-

ein mein ar mes Herz ge zo - gen.
H s -Ji i.f . K
Kum - mer ist

- r—
durch dich hin - ein
^ in
J T
mein ar -
87
Gtt
- =1 -------------------
p l
LI., T \\i) l=J LI—
in mein ar - mes Herz ge - zo - gen! Flam - men-au -
•?£"> L-h------------ h- i "te--------- f —

U f J' ■
- raes Herz ge - zo gen, ge - zo
T --- f-
- gen!- Flam - men-au
-§r JJ ■*t -i “
ply
- ge.
r
-1------- ttw— r—
R^_---------
dunk - les Haar,
LI— f-L H
Kna - be won
h ^ - n ■n
ig und— ver -
L.r . K, — ■
^ v jy ' J r '
•
- ge.
—
dunk - les Haar._
• * -J !*r
Kna - be won
I ^
-------- (“ "T-
j -H
ig und— ver -
E E E E E
m - gen,
B,
0 3 C S' IS
Kum - mer
c „ C
ist
C
durch
r
dich
____
hin - ein
¥ - gen. Kum - mer ist durch dich hin - ein
J .] J
in mein ar - mes Herz ge - zo gen!
•vA*
#npg
in mein ar - mes Herz_ ge - zo gen!
88
Exercise 4
Wireilen mit schwachen, doch emsigen Schritten, Johann Sebastian Bach
from Cantata no. 78 (mm. 51-60)
B!>
C
Soprano
Du su-chest die Kran-ken und Ir - ren-den treu-lich, die Kran - ken und
A lto
Du su-chest die Kran-ken und
G
54
ren-den treu Iich. die Kran ken und Ir
Ir - ren-den treu-lich, lu su - chest die Kran - ken. du su - chest die Kran - ken und
m
- ren-den treu - Itch, die Kran - ken und Ir - ren-den treu n Itch
Ir - ren-den treu - Iich. die Kran - ken und Ir - ren-den treu - Iich.
89
MODULE 2, SECTION E
Intervals in a Tonal Context: Minor Keys
In this section you will work with intervals in the aural framework of the harmonic
minor scale. Each exercise presents intervals formed by diatonic pitches of a particular
minor key. As in Module 1, these exercises have two purposes: the placing of the
pitches into a tonal context, and the measuring of the distance between the two pitches of
each interval.
Remember that when describing the scale degree function of particular pitches you
may use scale degree numbers (1 through 7) or the solfege syllables of the “movable do”
system. Always tonicize the appropriate key by playing the tonic pitch on the piano, then
singing the harmonic minor scale up and down with numbers or “movable do” solfege
syllables. When naming the interval size, indicate numeric size and interval quality
(major, minor, perfect, diminished, augmented). Reduce compound intervals to their
simple equivalents, i.e. a tenth will be referred to as a third. Work with the interval
exercises in the ways described below.
1. Working with a partner, one person plays both notes of the interval
simultaneously. Without looking at the exercise the other person states the
scale degree function of the two pitches, the letter names of the two pitches
(including accidentals when appropriate), and the interval size. After
responding, sing scale degree 1 before moving to the next interval.
2. Working alone, establish the key, play the lower note, then sing the upper note,
or play the upper note then sing the lower note.
90
3. Working alone, establish the key, then sing the two notes of each interval from
bottom to top or from top to bottom, using the scale degree number or
appropriate syllable for each pitch.
4. Working alone and without singing, name the exact size of each written
interval.
A Minor
1 2 3 4 5 6 7 8 9 10 II 12 13 14 15 16 17 IS 19 20
o XT o -
o
E Minor
I 2 3 4 5 6 7 3 9 10 11 12 13 14 15 16 17 IS 19 20
O n sx
r ? - 4 -S - - - - -
| h £ 3 ==\
«T I— o - l o
o n r* * i O | O o
U r--------- u Lu
B Minor
I 2 3 4 5 6 7 8 9 10 II 12 13 14 15 16 17 18 19 20
fe — -------------------------- r — ,------ ----------- ----------------- — - M -
ftg.4. lit
■®—1— c r
F-sharp Minor
1 2 3 4 5 6 7 8 9 10 II 12 13 14 15 16 17 18 19 20
O IX
r n P - y - ^ 1
L" 0
o i- O I
sx
r-n O - | o o
'—* y j Lo
91
C-sharp Minor
I 2 3 4 5 6 7 3 9 10 II 12 13 14 15 16 17 18 19 20
O 1 OT"J o •o- -o- 1

1 O I -O
[#®-l
-s.
G-sharp Minor
I 2 3 4 5 6 7 8 9 10 11 !2 13 14 13 16 17 18 19 20
Mtt.. I c#H ■ I_ I I- I - !■ I_ I 1*8
it _o_
xO
D Minor
I 2 3 4 S 6 7 8 9 10 It 12 13 14 13 16 17 18 19 20
$&-
TT
G Minor
I 2 3 4 5 6 7 8 9 10 U 12 13 14 15 16 17 IS 19 20
,.!> . - n r r - T L . !■ i f t -
~rr
C Minor
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20
■o
rf/f. A »
4 H u
|V i r^-i i—
O rrt»i
K ~ 1}
92
F Minor
I 2 3 4 5 6 7 8 9 10 II 12 13 14 15 16 17 18 19 20
-o-
Oj
o u o
TT
■iT . f L'g-l [-0—

1
L
L------ZJ l ---------1
B-flat Minor
I 2 3 4 5 6 7 8 9 10 11 12 13 14 LS 16 17 18 19 20
til t-h>L [■O- I o
O J
U o
o -o-
ffcsa
Ty
93
MODULE 3, SECTION A
Three-part Singing and Hearing
The goal of this section is improved skill in three-part hearing and the achieving of
aural control over a three-voice texture. For each exercise, carry out all eight of the
prescribed steps in order. Additional steps will be recommended for some of the
exercises. Remember to give yourself only the tonic as a reference pitch (see
introduction).
Step 1: Sing each voice part separately while conducting.
Step 2: Imagine each voice part separately while conducting.
Step 3: Work with all possible pairs of voice parts as prescribed in steps
3 through 5 of Module 1.
Step 4: Imagine each pair of voice parts while conducting.
Step 5: Play each pair of voice parts while singing the third part.
Step 6: Sing all three voice parts from bottom to top.
Step 7: Sing all three voice parts from top to bottom.
Step 8: Imagine all three voices together while conducting. Go slowly

and make sure you really hear each sonority.
Step 3 asks you to work with pairs of voice parts. There are three possible pairs in
a three-voice texture (upper and middle, middle and lower, upper and lower). When
performing step 8, you may find it difficult to imagine all three voice parts at first. Try
imagining yourself singing each of the component parts of the chord as you sang them in
steps 6 and 7.
94
Test your aural control of each exercise with the following game: while
conducting, sing the top voice for one measure. At the first barline switch to the middle
voice for one measure without breaking the rhythm. At the next barline switch to the
lower voice. At the next barline return to the top voice. Continue this procedure to the
end, then go back and do the same starting with the middle voice and then starting with
the lower voice. For variety, try doing the same thing but working your way upward
through the voice parts instead of downward. This game is particularly enjoyable with a
partner or in a group of three, with each conductor starting on a different voice part.
These games serve as tests of whether or not the conductor is actually hearing all
the component parts of the texture when performing step 8. If all the parts are really
heard in the imagination, it should not be difficult to switch back and forth between the
individual vocal lines already present in the imagination.
Exercise 1
It is helpful to begin with examples that exhibit predominantly parallel motion.
This first example should be performed with the syllable “bah” for the lowest voice,
“beh” for the middle voice, and “boo” for the upper voice. The subsequent exercises can
be practiced with these syllables before adding the text.
95
Soprano I
V w
S o p ran o 2
J i ' j. 'i J J
A lto
i u ' j j ^ J j
Exercise 2
Floret Silva, from Carmina Burana (mm. 59-65) Carl Orff
59
S o p ran o I
4 - - ! L L r ■'
ei - a, ei - - a, ei - a quis me a - ma-bit?
S o p ran o 2 r r r
i r r •ir U r ir r ± ir u r rr-r r r f - f -i
ei - a, ei - - a, ei - a quis me a - ma-bit?
A lto 1. J 3 J I r «=? —i------ F H i --------------1-------- 1— r

* r r r 'P J J ' r r r i f ■>*■> i r r r - i r J - H
- a. et - a. ei - a quis me a - ma-bit?
Exercise 3
America, from West Side Story (mm. 126-133) Leonard Bernstein
126
S o p ran o 1
P I like the shores of A - mer - i - ca!
-P- P PI f - F
Com-fort is yours in A - mer - i - ca!
S o p ra n o ]
I like the shores of A - mer - i - ca! Com-fort is yours in A - mer - i - ca!
A lto
I like the shores of A - mer - i - ca! Com-fort is yours in A - mer - i - ca!
96
s1 ■ j L j i Jl | J . j | j
m
Knobs on the doors in A - mer - i - ca. Wall - to - wall floors in A - mer - i - ca!
S 2
© Copyright 1956, 1957 by Amberson Holdings LLC and Stephen Sondheim.

Copyright Renewed. Leonard Bernstein Music Publishing Company LLC, Publisher
Boosey & Hawkes, Inc., Sole Agent. Reprinted with permission.
Exercise 4
Drink to M e Only With Thine Eyes (mm. 1-4) Arranged by Theron W. Kirk
Soprano |TJP t>, ft > is Js J — N , J' N K >1r . - k j \

P^
Drink to me on - ly with— thine eyes.— Anc I— will pladge with mine;
- J H r - n — E— :-------
Alio
g ° J U — — JL_l — J 1-
Drink to me on - ly with thine eyes. And I will ple<dge with mine;
Bass
![■' H,r “H8 p« p P f^ ■ t
j j "■n- ^ w
1p p
*>
p
■■*=!
ir P *=f=|
Drink to me on - ly with thine eyes. And I will pledge with mine;
Exercise 5
Kyrie, from Mass fo r Three Voices William Byrd
Alto --=3=1 r l ------ -------------

...... ri j.
T -- --- ^ |j J r J J 1 ^ ■J - f— ■ J
Ky - ri - e e - lei son. Chri ste e - lei
Tenor fort*.
8 Ky - ^ri - e e - lei son, Chri ste e - lei
Bass
K
\-»— #--------------- ar-
i f -----1-----f --------f - J
|f r r"
Ky - ri - e e - lei - son, Chri ste e - lei
97
son, son.
son, re son.
son, Ky - ri - e e-Iei- - - - - - son.
Exercise 6
Si iniquitates observavens Samuel Wesley
Tenor
r .-L - J
T — 'N *i - ni-qui
r r ta - tes. si i - ni-qui - ta - tes
Baritone
Si i - ni-qui - ta - tes. si i - ni-qui - ta - tes
Bass !”*• m - 1—1
Si
ri - ni-qui
r J - ta - tes, si i • ni-qui - ta - tes
ob - ser - va - ve-ris. Do - mi-ne, quis sus-ti-ne- - - bit, sus - ti -
B I
ob - ser - va - ve-ris, Do - mi-ne, quis

r E E ff-lrE rf-f
s us - t i - ne - - - bit,—sus - ti -
B2
ob - ser - va - ve-ris. Do - mi-ne, quis sus - ti - ne
98
ne - bit? tes.
ne-bit? tes,
B2
- bit? Si i tu ta tes, SI 1 01
tes ser - va ve-ns,
tes ser va ve-ns,
B2
ta tes ob ser va ve-ns, Do - mi-ne, quis sus u
23
P - p ~ fl- fl f
■ P p
1 r
M M
r ru T r
THi
--T -lf + '
bit, Do-mi-ne, quis sus - ti - ne-bit? Si i - ni-qui - ta-tes
*
■ £T|*r f f f . i.
i
- i. .i l. l ......
f 0
- bit? Si i - ni-qui - ta-tes ob-ser-

— m _
_ 1, 1 . II . , 1
Iie - - - - bit, quis sus - ti - ne-bit? Si

rr r ^
i - ni-qui - ta-tes ob-ser-
99
/T\
m
ob - ser - va - ve-ris. Do -
Tr-HrDo - mi-ne,
m i- n e ,
ff i - ni - qui -
/?\
B I £
va - ve-ris. Do m x -n e . Do - mi-ne, i - ni - qui •
/T\
B2 ,1 ---------
- 9 V
va - ve-ris. Do - mi-ne. Do - mi-ne. i - w - qui •
ta - tes, quis sus - u - ne b it?
B 1
ta - tes, quis sus - ti - ne b it?
B2 £
~T
tes. quis sus - ti - ne b it?
Exercise 7
Lift Thine Eyes, from Elijah Felix Mendelssohn
Soprano I
Lift thine eyes, O lift thine eyes to the moun - tains, whence
S o p ran o 2
Lift thine eyes. O lift thine eyes to the moun - tains, whence
Alto
m----m— J
Lift thine eyes. O lift thine eyes to the moun - tains, whence
100
si
com - eth, whence com - eth, whence com - eth help.
S2
m
com - eth. whence com - eth. whence com - eth help. Thy help com - eth.
— m—
om - eth
com - eth, whence com - eth. whence com help. Thy help
S 1
Thy help com - eth from the Lord, the Ma - ker of
S 2
com - eth from the Lord, from the Lord,— the Ma - ker of
com - eth from the Lord, the Ma ker of
S 1
r
hea -
9
ven and earth..
■f..... H
He
i
hath said, thy foot________ shall not be
S 2 3*
hea - ven and earth— He hath said. thy foot shall not be
!*■
hea - ven and earth He hath said, thy foot shall not be
S 1 |Tl% r in .
% ■■■ -P P-
mo-ved. Thy
$ PPP f ------------
keep-er will ne-ver slum - ber,
f— ne-ver
P 9 will9 ne-ver
P~P slum - ber,
S 2 l h j , I--K-1 &1>■ 'fei | N •_h

ft ^ J
mo-ved.
7
Thy Keep-er will ne-ver slum - ber. ne-ver, will ne-ver
... v -------- gjll J1 J J----- J---

H-v J J' 1
. - J - L - .J - L 4 — *
101
si
ne - ver slum ber Lift thine eyes, O lift thine eyes
S2
i m
slum ber. Lift thine eyes, O lift thine eyes
slum - ber, will ne

jii J r a i ^' * *
ver slum - ber. Lift thine eyes, O lift thine eyes
S I
to the moun-tains, whence com

r -
p•f 1Li
eth, whence com - eth, whence com - eth
S2
m
to the moun-tains, whence com - eth, whence com - eth. whence com - eth
to the moun-tains. whence-

■J J ^ Li
com - eth, whence com
S 1
m
help. whence com - eth. whence com - eth, whence com - eth help.
S 2
help, whence com eth, whence com - eth, whence com - eth help.
m
— a—
help, whence com eth, whence com - eth, whence com - eth help.
Exercise 8A
We discovered in Module 2 that multi-part singing is especially challenging when
applied to contrapuntal music in which the vocal lines exhibit a high degree of
independence. You may find that steps 6 and 7 need to be modified somewhat when
102
applied to music of this nature. When applying steps 6 and 7 to the remaining exercises
in this section, try leaving out the text and singing only the harmonies that occur on each
beat or on each strong beat. Also, take pairs of voice parts and sing all vocal entrances in
those voices. Continue with one voice until the other voice has an entrance following a
rest. When you are able to execute this fluently, apply the same process to all three voice
parts at once. Conduct and cue the entrances at the same time. Then you are ready for
exercise 8B.
Glona tibu Donune William Byrd
Alio
Glo - n - a u
T enor
Glo - ri-a ti - bi. Do-mi - ne. Qui na-tus es de Vir - gi-ne.
Bass
Glo - ri-a ti - bi. Do-mi - ne, Qui
..M .— r «i -- - - - - Jr
■% i - - - - - - - - - - - - Lj. j
—& J J J
- bi. D o -m i ne, Qui nat - tus es de Vir - gi-ne. Vir -
l l A .= Li M , _ n ■—
qui
^ — r-
na - tus es de
r p
Vir - gi-ne, de
^ 4 r -
Vir - gi - ne. qui
" f ------ ^
n a -tu s
k > :Lk ]=? • t :------H f. f ■i r p ■) » P F— F-----1

j # -f 4 r r
na - tus es de Vir - gi - ne, qui na - tus es de Vir
103
11
rny-Ttr— ............... .......
[r^ j j j
- gi - ne.
—
Cum Pa
— u .. 1 r i
ire* cum
T
m f f — i P P’
^ - r - .....--f--------
es de Vir - - gi-ne. Cum Pa - tre, cum Pa
B
i P' m ■
- , r-i r ¥ ---------f —
gi - ne. Cum Pa - tre. cum Pa
16
Pa - tre et San - cto Spi - ri - tu. In sem - pi-
T
f £
tre et San - cto Spi - ri - tu. et San - cto------- Spi - ri - tu. In
tre et San-cto Spi - ri - tu, et San-cto Spi - ri - tu.
/Tn
A
r *
o-
ter-na, in sem-pi-ter-na sae - cu - la, sae - cu - la.
T
m
sem-pi-ter-na. in sem - pi - ter-na sae - cu - la. sae - cu - la.
In sem - pi - ter-na. in sem-pi-ter-na sae - cu - la.

Z7
men,
men.
A men. a men.
104
32
rT\
XT
men.
O'
men.
f-n—p-r-r men.
O
Exercise 8B
While conducting, sing the music that is enclosed in boxes. Look ahead as much as
possible, and take a slow tempo at first.
Gloria tibi. Domine William Byrd
Alto
±;
Glo - - n - a ti
Tenor
m
Glo - ri-a ti - bi. Do-mi - Qui na-tus es de Vir - gi-ne.
Bass
Glo - ri a ti - bi. Do-mi - ne. Qui
f — J ■r,1
m
bi. D o -m i - ne. Qui nat tus es de Vir - gi-ne, Vir
qui na-tus es de Vir - gi-ne. de Vir - gi - ne. qui n a -tu s
na - tus es de Vir gi - ne. qui na - ms es de Vir
105
11
L J ^ J j «- ^ ^— Li. =4=
.................................. g i - n e . Cum Pa - tre. cum
es de Vir - - Si - ne. Cum Pa - tre. cum 1 -
ri* a r \\r>
**
- gi - ne. Cum Pa tre, cum Pa
16
m 7T ~u~
Pa - tre et San - cto Spi •ri - tu. In sem - pi-
tre et San - cto Spi - ri - tu, et San - cto_ Spi - ri tu. In
■ r hr r
tre et San-cto Spi n - tu. et San cto Spi - ri - tu.
£
¥
ter-na. ■pi-ter-na cu - la. - cu - la.
sem - pi-ter-na. pi - ter-na sae - cu - la. sae - cu la.

7?T
In sem pi - ter-na. m sem pi-ter-na sae - cu - la..
106
27
L J -J -U ---------- J ---
A men. a -
Ffe
7 —
A
r r J - men. a -
S m
P— F ~ h * im f—1 1=4
p il
A - -
Hmeru= »
a men. _ _ _ .
A.
men. men.
men. men.
men.
Exercise 9A
After applying the eight steps to exercise 9 A, perform the voice switching game
before proceeding to exercise 9B.
Sicut locutus, from Magnificat (mm. 14-37) Antonio Vivaldi
Soprano
Si-cut lo - cu - tus est ad pa-tres no suns.
A lto
A - bra-ham, et se-mi-ni e - jus in
Bass
107
se - mi-tu e - jus in sae
se - mi-ru e - jus in sae
r \± -f r
- cu-1a, in sae - <:u - IEL
p ---- m m ■—
A ----- P - P -p
- cu-1 a, in sae - cii - Ia.
i r , - r - - P - P. r pi
- cu-Ia, in sae - cu - la. Si-cut Io - cu-tus est ad pa-tres
r f ^
— :— ^
t . -------------- r ~ i — m—m— I5—hnft----------- m. m
p g
j— ^ _h
J - J-.J --
t K-
P VV
bra-ham, et se-mi-ni e - jus in sae - cu-Ia, A - bra-ham, et
J>,Jt J JiJijtJi i JU>

Si-cut lo-cu - tus e;st ad pa-tres no - stros. A-bra-ham. et se-mi-ni e-jus in
K
v J y
v ■h ■ s h _h
» m t
no - stros, A - bra-ham et se-mi-ni e-jus in sae-cu - la, A - bra-ham, et
108
S
gsggfe
se - mi-ni e - jus in sae
sae
cu-Ia,
cu-Ia.
cu-Ia,
34
✓ _n_
[ b f H V - - ft = ^ = i i . . . .. m ii i
% J - J J = 1 T T T J r
A - bra-ham. A - bra-ham. et se - mi-ni e - jus in sae - cu-Ia.
}l J - =1 h j — *—4—
H v -d r df fi - d *
8 " ^ ' J 1 J ------------- 1
A - bra-ham, A - bra-ham, et se - mi-ni e - jus in sae - cu-la.
U, / L m
j i • m jm ^ ^ = i - J' ) 1 ^ 1 rZij - mh hM lM J ' if j r
K
A - bra-ham, A - bra-ham. et se-mi-ni e - jus in sae - cu - la.
Exercise 9B
109
Sicut Iocutus. from Magnificat (mm. 14-37) Antonio Vivaldi

14
[ f i v i * - JL h
a- = — = ^ z pf- ■ rv—■ -fc—
« j
t-_ h
■ d ■
■
Si-cut lo - cu - tus est ad pa-tres no - stros. A - bra-ham, et
iJ
A - bra-ham. et se-mi-ni
ie - jusj J*
in
A - bra-ham, et
se - mi-rn e - jus m sae
sae
se - mi-ru e - jus m sae
- cu-Ia. in sae - cu - la.
- cu-Ia. in sae - cu - la.
£
- cu-Ia, in sae - cu - la. Si-cut Io - cu - tus est ad pa-tres
110
25
-ft*—A— fr -fr -
=W= r p pp P'P p -P— -■ ~ '
A - bra-ham. et se-mi-ni e-j'us in sae - cu-Ia. A - bra-ham, et
j* -1 • -JT# /-JrJrjtjt -1
Si-cut lo-cu - tus est ad pa-tres no - stros. A - bra-ham. et se-mi-ni e - jus in
IbJ r m '* ' • • P P-' 'P

----- V P=1
no - stros. A-bra-ham et se-mi-ni e-jus in sae-cu-la, A - bra-ham. et
se - mi-m e - jus m sae
sae
I ll
s
A - bra-ham. et se-mi-M e sae cu-la.
A - bra-ham. et se-mi-m e cu-la.
A - bra-ham. et se - mi-ni e sae - cu
112
MODULE 3, SECTION B
Error Detection in Three Voice Parts: Student Section
The Student Section is comprised of three-voice musical excerpts containing no
throughout. These exercises may be used in different ways as described in Module 1,
Section B. If you want to get to know the excerpts before performing the error-detection
exercises, use the techniques applied to the three-voice exercises in Module 3, Section A,
and avoid using the piano.
Exercise 1
O My Heart Henry VIII
Soprano
O my heart and O- my heart, my heart it is so
T en o r
m
O my heart and O- my heart it is so
B ass m
O my heart and O- my heart. my heart it is— so
S
*
sore, since I must needs from my love de-part and know— no_ cause where - fore.
T m
sore. since I must needs from my love de-part and know—no_ cause where - fore.
sore. since I must needs from my love de-part and know no cause where - fore.
113
Exercise 2
Barekhu (mm. 1-25) Salomone Rossi
Soprano 1 n . 1i r J i> i f
t f S ir J f if
Ba - - - re -
A lto
s W • -® — " ^ r ---- J —
Ba - - - re -
Tenor ^— j]i
------- j j >r r M J- ^
[h jf i- ^ m ^
r-... r r
khu pr do
^ ■
L#1— j —
khu pr - do -
i
iLfii— o --------- 1r j r - ■ * d |J r =■
et a - d6
nai
nai me
nai roe
114
o-
- rakh,. ha - - - me - v6 - rakh.
27“ —CT“
- rakh, ha ^ “ - me v6 - rakh.
rakh, ha - - - me - v<5 - rakh.
Exercise 3
Hec Dies (mm. 1-31) Perotin
Alto f t p jj . jj _hi
mm p--j_hi
A * ♦ r
4«-
Tenor + -m * ■-» m. m.
4=
^ '
-&=- S»f5* .. . . --------- ftO. -&■----------

Bass
Hec.
p.- ' lHTTT

ir- | L | ^ f*rr r
—
^ U3
---------- T
r ----[F r- M=[* = \
115
• d m
di -
m m f 0
ir r I
F
F - ■
y -r
F m.
1 P
8 di -
Lr r ^= i
-A1--------- - -mi---- r -----
di -
25
• • j. -fir -----------
es
i f. .i ----k-=----- -f-p-f--» a _ —I—i. F m F i f P 0 m -----

r * 1 rr r
fc ^ C JL T 1
es
rpi----------
es.
Exercise 4
Lauda Sion Salvatorem (mm. 14-30) Dietrich Buxtehude
Soprano I
Lau da, iau on Sal va -
Soprano 2
Lau da. Iau on Sal va -
Bass
Lau da Si - on Sal - va
116
sI
to - rem, Iau Du - cem et Pa-sto - rem. Iau
s2
to - rem, lau Du - cem, Iau Du - cem Pa-sto - rem,
to - rem, Iau da Du - cem, Iau da Du - cem et Pa-sto - rem. lau d;
S I
Du - cem. Iau - da Du - cem et Pa - sto - rem in hym - nis et
S2
Iau - da— Du - cem et Pa - sto - rem
) J1 J sr—
I *—
Du - cenu lau - da Du - cem et Pa sto - rem
S I
m
can - ti-cis. in hym - nis et can - ti-cis.
S2
in hym - nis et can - ti-cis
in hym - nis et can - ti-cis. m
S I
in hym - nis, in hym - nis et can - ti-cis!
S2
$ hym - nis et can - ti-cis. in hym - nis et can - ti-cis!
m
hym - nis et can - ti-cis. in hym - nis et can - ti-cis!
117
Exercise 5
Dies irae, from Requiem (mm. 49-64) Hector Berlioz
49
Soprano -J—J-v • p—
\ r '= 2 = « *
Quan - d0 Ju - dex_ est ven - tu - ms: Di - is—
r-^ - _0 _ 0 |»
T enor = * = '= F F
t £=p
-f- r Lr »
Quand -
i= M
m m
do__ Ju - d<IX est

^
ven - tu - ms:
r l>r J
**
Di es
3
Bass
r— — — r r
Quan do Ju dex est_______ ven - tu - ms: Di - es
i - rae. es
i - rae. di - es es i-rae, di es—
l rae. di es la. sol vet sae
es sol vet sae clum in fa-vil
il-la. sol - vet— sae - clum. sol-vet, sol - vet sae clum— in fa-vil
di es il - la. sol-vet sae - clum in fa-vil la.
118
MODULE 3, SECTION C
Error Detection in Three Voice Parts: Teacher Section
Section. Here in the Teacher Section the excerpts contain errors that are circled in the
vocal parts. The same errors are also present in the keyboard reductions, where they are
not circled. The correct pitches are indicated just outside the circles.
Exercise 1
O My Heart Henry VIII
Soprano
Tenor
O my heart and my heart so
Bass
my heart.
119
s
sore, since i must needs from my love de-part and know no—cause where - fore.
sore, since I must needs from my love de-part and know— no cause where - fore.
sore, since I must needs from my Vlove de-part/ and know no cause where - fore.
Exercise 2
Barekhu (mm. 1-25) Salomone Rossi
Soprano m
m
Ba
Alto
—a~
Ba
T enor m
Ba
R eduction
f= r
m
120
-r M
khu pf dd
F
e c : i t
o --------- ---J--- ®------- 1 " J
khu et a - - do -
D Bl>
8 khu
f
pr
J f J J 1----- f h p \
d<5
7
■J - ■ J i j.^ i J J J 1
f “— r f n r r —
£ = # =
f3 m
-o-
?— T—
nai me v<5
nai v6
nai
121
s
—cr~
rakh, me rakh.
A
—wj—
rakh. me rakh.
rakh, - me rakh.
JCL
Exercise 3
Hec dies (mm. 1-31) Perotin
Alto
± 4 ^
f # i ^ • ^m
E Ct
Tenor 1 -a r- P a & h r Q > r - -i r T - i r ^ r iH
8
i| -------- r-A£--------- J. t|2.-.______

Bass
- M £>*— 1
i n f | J J M" 1 - tjg ------------h- t ------h"

j ■j 1
r r J -nrf)- H Jr
j
Reduction
r+ T T r-rp-tcrr- r - r ^
t y Jl f -------- --------- !>p-
122
f jt 1 M
■I-
r c
t r r rrh, f ¥ =
^ C d r 1r —f ~'~m.J = J : ------
p -
--------------f l# = P = l p # = f # =
f ^ =
-jv -h h r d "1------ — ft F~[ >'• r _h j m ------- 1—
r - r p r V ^ I S J [ £ f f p = 1 -------
<
- U —
# = = ^
di
di
* r r ir ir c u r
di
F * f f r r p ■n p r ip f P f a f ^ F
l f a = I f a f a
123
—
- es
--
T-- --
- f- 1— *-■
lu-1LLr tt =
es
l
A
->--
-------J------ F f= f1
L[----------
^ = :
es
25
-- >--
-4 = —
»•
* -----------
=f==*=
P-jf- P1
■p— r i i i
'B fi f ' t
- - -£ r r ' L ? ? t ^ r
P-s —
Exercise 4
Lauda Sion Salvatorem (mm. 14-30) Dietrich Buxtehude
Soprano I ,t J-JTJ * JE
Lau - da, Lau - - da, lau - da Si - on Sal - va •
A
Soprano 2
m
Lau - da, lau - da— Si - on Sal - va-
A___________ _
Bass
Lau - da Si - on Sal - va -
Reduction <
i s
124
IS
S I
to - rem, Iau Pa-sto - rem, lau
S2
to - rem, lau da Du - cem, Iau da Du - cem Pa-sto - rem.
to - rem, lau Du - cem, lau da Du - cem Pa-sto-rem , lau - da

is
xs
I
Du - cem, Iau da Du - cem Pa sto rem in hym u s et
S2
lau Du - cem sto rem
Du - cem, lau Du - cem sto - rej

is
125
p. .|T ^ i O l.
rf^
f
p.
r
can -
.
f J
J =
ti-cis,
:
in
L f—
can -
— —
ti - cis.
1
hym - nis et
jf i , J
• 9
in hym - nis et can - ti - cis. in
i 1
■■■■■■ l r-- J j
in hym - nis et can - ti - cis, in
........... J* j - r> > J - 1 J jl J i J. _h |

------ *------- F----- = r— p = r = -r-1 r
-J---- »
j' f
k-
26
in hym nis et con ti-cis!
S2
hym nis et can hym nis et can ti-cis!
hym nis et can ti-cis, hym ms et can ti-cis!
126
Exercise 5
Dies irae, from Requiem (mm. 49-64) Hector Berlioz
<3
Soprano = t = n . .
■ ttJ M = > r tF - ffp r
Quan - - - do Iu - dex—es t ven - tu - rus: Di - e s-----
A G*
Tenor , r ? \
f r f— £ = £ -r
T '
Quand do— Ju - dex est Ven - tu - rus: Di - es
R
M 1°
Bass
^ = f
~ r r r
Quan do Ju - dex est Ven - tu - rus: Di - es
49
■ ^ T T — 1-----------
d 1 r y \
r T r '
tf- r r r
Reduction
f f
----- 1----1-------
J-- j Ilj
^ - r -------
i - rae. es
i - rae, di - es es—
rae. es vet sae clum.
127
*A
i j — --| — ppf*—
U = ^= A
P '• 1j -f
di - es n - la. sol - vet sae - clum in fa-vil - la*
A * C
4= \ A - / —P5—P P------- Pr
r =*M = r l t i M H f f fii
il-la. sol - vet_ sae - clum. sol - vet, sol-vet__ sae - cluni-_ in fa-vil la.
m * "J* — ..... ji -----

— ----- J -A ----
m r - H - r
di - es il-la, sol-vet sae - clum in fa-vil - la.
j >T* i n r J n HP—Ptf r# r— fpf*— 3

m *
^ r r - r - [ _ r r r
m r
J j n A i i J
— B -r— l
128
MODULE 3, SECTION D
Working with Triads
Each chord in this section is a major or minor triad in root position, first inversion,
or second inversion. By working with these three-voice chords in a variety of ways you
will develop aural sensitivity to chord quality and to the component parts of chords.
Work with the chords as described below.
1. Working with a partner, one person plays the chord. Without looking at the
exercise the other person states the quality of the chord (major or minor), and
the position of the chord (root position, first inversion, second inversion).
exercise the other person sings the three pitches of the chord in comfortable
registers, from top to bottom or from bottom to top.
3. Working alone, play one pitch of the chord and then sing the entire chord from
bottom to top or from top to bottom.
4. Working alone, view the chord then state the quality of the chord (major or
minor) and the position of the chord (root position, first inversion, second
inversion).
129
1 2 3 4 5 6 7 8 9 10 11 12
0 -k~o- o
4 - § —
kja.
— e—
----------------------------- 1 r H
13 14 15 16 17 18 19 20 21 22 3 24
i>o — ti
-t y l > n — — ----e — - ke* -©■

_L:------------ 1
3 26 27 28 29 30 31 32 33 34 35 36 37
r-fc -= ----- 1
KH
— R—
,L------------------- 1
38 39 40 41 42 43 44 45 46 47 48 49 50
— e— i f»> j
M —
o
h*H -o-
J0t
iV 9 ko ko
-V
130
MODULE 4, SECTION A
Singing and Hearing the Score: Four Voices on Two Staves
We will begin our study of four-voice hearing and singing by working with simple
four-voice excerpts notated on two staves. The goal is to form a mental-aural image of
the music in such a way that it becomes firmly imprinted in the mind. The ability to form
a strong mental-aural image will prepare you well for work in error detection. Progress
in the skill of error detection will come about through practice in forming the mental-
aural image in the rigorous way outlined in this section, in combination with practice in
error detection itself. This section also provides additional exercise in linear and vertical
(harmonic) singing. Apply the following steps to each exercise:
Step 1: Sing and then imagine each voice individually while conducting.
Step 2: There are six possible pairs of voices in a four-voice texture. Work
with each pair of voices as described below.
A. Sing the upper voice while playing the lower voice on the piano.
B. Sing the lower voice while playing the upper voice on the piano.
C. Sing both voices from the bottom to the top and from the top to the
bottom.
D. Imagine both voices while conducting.
Step 3: There are four possible groups of three voices in a four-voice texture.
Work with each group of three voices as described below.
A. Play each possible pair of voice parts while singing the third voice.
B. Sing all three voices from the bottom to the top and from the top to
the bottom.
131
C. Imagine all three voices together while conducting.
Step 4: Sing all four voices from the bottom to the top and from the top
to the bottom.
Step 5: Imagine all four voices while conducting.
Step 6: Test your aural control over the music by singing the exercise,
switching voice parts at each barline.
Bear in mind that a score-study process is being established here. Although these
steps may seem overly rigorous for simple examples, they will be more challenging and
more necessary when applied to later examples containing complex chromatic harmonies.
Exercise 1 is for women’s voices and exercise 2 is for men’s voices. Music
composed for one gender tends to be more closely spaced, making it ideal for the practice
of four-voice singing. Most conductors will be able to sing these two exercises without
switching octaves during the vocal lines and without inverting any of the relationships
between voices. Men should sing all voices of exercise 1 down an octave, and women
should sing all voices of exercise 2 up and octave.
Exercise 1
Sanctus (mm. 1-15) Franz Schubert (Arranged by Arthur S. Talmadge)
Soprano I
Soprano 2
Alto I
£
Hei
mm
lig. hei lig, hei - mlig,---------- hei lig
Alto 2 m j -— j
f
$1st der HerrL Hei lig. hei lig.
m
t ¥
132
± =î
hei - lig-
=r
hei
= r=
lig ist
=P
Er!
p
f *
Used with the permission of E. C. Schirmer Music Company, a division of ECS
Publishing, Boston, MA.
Exercise 2
Aura Lee (mm. 1-8) George Poulton (Arranged by Hunter, Parker, and Shaw)
T enor I J f j U J J .U J - U
T enor 2
As the black-bird in
tr
the spring
r rT f
'neath the wil - low tree-
Baritone
Bass n ii' i1 1'
j j
r r r
j
r
j
r = r r '~ h r r »r i —CJ-
T=
Sat and pip'd, I heard him sing, sing of "Au - ra Lee."
J- J
r~r
Exercise 3
This short chord progression is designed to help you establish a procedure for
singing four-part music for mixed voices in a manner that is appropriate for your own
vocal range. Women may find it best to sing the upper staff at written pitch and the
lower staff an octave higher than written, as shown in the illustration below. Men may
find it best to sing the music on the upper staff an octave lower than written. The purpose
of executing the tenuto mark is to help you hear the linear connection between the notes
of the soprano voice (particularly important when the soprano is the melody), and to
negate the sense of voice crossing that occurs when the tenor voice ends up above the
133
soprano. These purposes will be further enhanced if the soprano notes are performed at a
slightly louder dynamic than the other voices.
Exercise 3
S o p ran o
A lto
f---- f r «-
T enor
B ass
P
Illustration of the second part of step 4 applied to Exercise 3 by a female voice
h r p i r p *
Illustration of the second part of step 4 applied to Exercise 3 by a male voice
Exercise 4
Apply the six steps to this short excerpt with text. When singing more than one
voice part, sing each word only once.
Magnificat (mm. 1-3) Henry Purcell

- J _____
S o p ran o r r * T - .....
I 'gf Si 8 =
1 = t = l f 4= = ± r --A -
A lto
= f= - r — Lr ~ = ft= =4== 4 = 4
My soul doth mag - ni - fy the Lord,
A A 4
A
Tenor n 8 -----------------
B ass -*----- I =
When working with longer excerpts it might be beneficial to apply all the steps to a
single phrase at first.
134
Exercise 5
O God, Our Help in Ages Past (St. Anne) William Croft
t
Soprano
T* u
\-= A = f A = = 4 == A = F ^ = J = } = F = ^
A lto
r t a r — r r - r ~ — ■r -f" - r ~ —
o God. our help in a - ges past. Our hope for years CO
r - J —- P -
A 4 4- j- - J- J A Jm J J
T enor m ___
Bass n r l=P= 4= = 4 = =P=J L f - =1== f = = M
rfz? j — j i ^ j j ^ . rJ" J - J i lj J J J' 1F ^ = fl

^ r~ r lrr~ r r r r T r r r r r r H1 r* ■
come. Our shel - ter from the storm - y blast. And our e - ter - nai home.
— ; i j j J ^ — 1M M—frH.. j "Hr - J - -------

— L t-f— r— p— f— r r * M
---------- —
Exerdse 6
Ce moys de may (mm. 1-8) Clement Jannequin
Soprano
Alto
Ce moys de may de • may

A A
T enor
Bass
i^~ j j j i ir -^ j rrj~ '= j= i

t £ -• r p— ^ i f - r t f—f — 1
moys de may, ma ver - te cot - te, ce moys de may. ma
\ A A A
i A 1 J J ~ “ £ j J
H k- r [=--- r i r - r r
de may,
A A
135
Exercise 7
Es wird ein Stem aus Jacob aufgeh’n, from Christus (mm. 80-110) Felix Mendelssohn
Soprano
Alto
r r
schtin leuch Mor * gen stem!
Tenor
Bass
welch' ein G la n z geht auf vom H e rm .
d = j
9t
r f t r
8
t .r
Licht und Trost zu ge ben! Dein Wort. Je
4): j. ^ J J J r>
f— i r r f — F— 1
r
SU, Klar - heiL fuhrt zur Wahr - heit and zum Le
J J J i M
Wer kann - ben?
136
Exercise 8
Gloria sei dir gesungen, from Cantata no. 140 J. S. Bach
Soprano
A lto i
Von zwolf
Tenor
H
Bass
- n - a set dir— ge sun - gen
zwolf Per-len sind— die_ Pfor - ten
Men - schen- .und eng li - schen Zun

dei - ner__ Stadt:_ wir sind— Kon - sor
A A.
r f r nr T=
mit_ Har - fen---- und— mit Cym - beln schon. Kein
der- En - gel---- hoch— un dei - nen Thron.
J A J bi
r J J J
F T 1r Y r
/7s
ir iA i ■ j u F ^-J ■ hj. J
§ t- i T r f -----------
L" r r T ----------P-------- rr r
Aug' hat je---- ge spurt. kein__ Ohr_ hat je— ge -
ty--- r r
J J —p---------
J J JF—F—.j j /?\
------- ^
J J J J J j
------- t r f
- r n 1
=f ='
137
24
f f- r T T T T + r
che Freu - de. Des sind wir— froh, i
138
MODULE 4, SECTION B
Error Detection in Four Voice Parts: Student Section
The Student Section is comprised of four-voice musical excerpts containing no
errors. The Teacher Section contains the same excerpts with errors scattered throughout.
These exercises may be executed in a variety of ways as described in Module 1, Section
B. If you want to get to know the excerpts before performing the error-detection
exercises, use the techniques applied to the four-voice exercises in Module 4, Section A,
and avoid using the piano.
Exercise 1
Psalm 19 Heinrich Schutz
So p ran o ^LJ -j- -J- --j—j n j =4=- T l- J J- -A pH I = .

A lto
=f=-f- r r r r ■f--LfL-r r- T - M - H - •
Die Him- mel. Herr, prei - sen sehr dein gOtt - li - che Macht und Ehr,
J J j J t J =c4=4—Jr
Bass "N 4= r r Lr :=F= ^ r r
jgfcJ- J - -J- —±- H j . .J N - i j- ^ j- T n „

T - r =r " L f r f r r f~ -p i s r r
auch die Fe - ste riihmt die Gnad. die dein Hand ge-wir - ket hat.
—J- -J =4 J -in * i
-r--H-=f=— i——1— p— ' 1 1' L- 1
O
139
Exercise 2
Psalm 26 Heinrich SchQtz
Soprano
A lto
I
m
mir Recnu mmm mein
wirst
T enor
Bass
i r i , i j L____ 41 L ,[ = i r ■—
i »
J S L5f ------- p — F—
ohn Ur - sach retan mich pi a
H f H 2------- 1 r r r r f Q i ?
- get.
ich habs auf dj ch ge - wi - get. prilf mich. wirsts an - de rs fin - den nicht.
J j ,i—
i ii 1 - 4 ......ij — J — J
n
U— U --L . |- j, 1I f — E— i r r u r -
ir J , 1 1 1 J lJ I 1 1 J .... -J NJ J i ■^ = n
■vy- f ? r f ijr r 4— r: p r r r--------r—
als dass mein Here zu dir_ ge - richt. dein Wort hab ich vor Zu - gen.
■* J j J i i i
J JJ J- J
— r — p— f — r iu l r r l-r— P --f-P r--i- - - - f^=H
Exercise 3
Glory be to God in Heaven (mm. 1-18) Arranged by Francis Snow
Sop ran o
A lto
f = r
An - gel hosts in bright ar - ray. Stars their night watch keep - ing.
A A A j i J J i ,h i J
T enor
B ass f t p p *
140
F fT f
Earth-ward wind their si - lent way.
w
While the world lies
m
sleep - ing,
P ~ T T ' P
Through the win-try
P - P - p f f p p - T 1 p ~~P
P p r ' p p p p [— r j W t ( $ $
clouds they glide. On through frost - ed por - tals. "Glo-ry be to God. Glo-ry
j m
sn J y J J i
u
be
m
to God. Glo-ry be
m
to— God in
| ' f
hea-ven.
f i
Peace,
J' I -
good will to
T
mor-tals."
j>- j*j>J' j
Copyright 1982 by Charles W. Homeyer & Co. Used with permission of Carl
Fischer, LLC.
Exercise 4
Beneath the Forms o f Outward Rite (mm. 5-12) Leo Sowerby
Soprano I l l fy*!! M | i f ----------- 1 1

A lto
^ — r— f — ----------------
/ r r r
Be-- neath the forms of out - ward rite Thy
j J J J
Tenor ,/ — -----
I—: ^“ 1 j j ; = ,
Bass
1 r r r = jm I ■ “ ---- 1
141
i
per. Lord, is
r r f r rr
r T ~ f
up - per room-
rare_
Where faint - tag souls- fe d ..
m T- *
© 1964 ABINGDON PRESS (Administered by THE COPYRIGHT
COMPANY, Nashville, TN). All Rights Reserved. International Copyright
Secured. Used By Permission.
Exercise 5
Jubilate (mm. 39-54) Cecil Wright
M =1==4=-> -h =A=-J-
39 J Frf=
J A
m
.
r--f- 4==*=*= 4=
Soprano
- f t r r r t~ r L
Alio
And His truth en dur - eth from gen - e - ra - tion. to gen - e - ra
i' =A=
r-J- r^- j J>J>
- J -
J
T enor
Bass K —9~ P >=4=- iNh -f- r
—ft—ft—
V - = f= 1
*£ /V>
H = * = = F = f F = ta —j LJ ph- J - J = t = q r r - J J - d q
# - " =f== t r "l r 4 T “- r - - r - = H 4^- r - T T ■
tion. Glo - ry be to the Fa - ther. And to the Son. and to the Ho - ly
/T
a\ J J A A i J iJ J A A A
—p— ft ft
4 = -P P ~l —r - r 4 = =1= LI 1 1 1 1
142
till
y ~P - J.
Ghost.
= * ^ = 1
IT IT
As it was
j n
u p
in__ the
f~
i j
r
i,
be - gin-ning.
,
l"
i
- r ^
is
= i
now
— r—
and ev - er
J-
[___ r ^ p _J ___ J - -k J
= f =
=d=q
i L Z i — p -------- =
— rEH= =
—
SI
= f = \ j .............J =#=
L f— r - r
§ r p f - C r r T r-
shall be. World with - out enel. A men.
n ' »
^
r
1 r-MU-V 4 - 4 - J -
j
p -- - = l
143
MODULE 4, SECTION C
Error Detection in Four Voice Parts: Teacher Section
Section. Here in the teacher section the excerpts contain errors indicated with arrows.
The correct pitches are indicated near each arrow.
Exercise 1
Psalm19 B/ HeinrichSchiitz
Soprano
T-i-L!>; A-J- j - -J---J—P - J -j- - J —Js-
Alto
=F=- f - T - * - r r F^x r r- | V J fJ ~
Die Him-tnel. Herr. prei - sen sehr dein gOtt - li - che Macht und Ehr.
J J p -
L f T r -
J - ^ - - P ^- $
' k r i ^"Lf r 1 •'
Bass r - - F -
- J —-J- n i -- j ....t - P - P - -■LClJ - j .... „

"T“ r =#=F=- t r r - r - - * =f==f=l=:=
auch die Fe - ste rtihmt die Gnad, die dein Hand ge-wir - ket hat.
- j —J = 4 ^C
J JPj * »-L-.. - 1SXU-
=£=-P-——=P= ■' " i ... p -tl
si/
Exercise 2
Psalm 26 Heinnch Schiitz
Soprano
Alto
I
schaff Rechu rumm
wirst
Tenor
Bass
144
i — l J
r r Y
ohn Ur-sach man mich pla - get,
ich habs auf dich ge - wa - get. priif mich, wirsts an - ders fin - den nicht,
\O l
J j j j j ^ J J ------4 -------h-trJ--- —J -----J -
rM /ts
T ^ h r r c jT ^ 1} M sM1 e \
als dass mein Herz zu dir_ ge-richt. dein Wort hab ich vor Zu gen.
J i i J |B J J J J-
Exercise 3
Glory be to God in Heaven (mm. 1-18) Arranged by Francis Snow
Soprano
Alto
H' (
An - gel hosts in bright ar - ray. Stars their night watch keep - ing,
i ,h i i J
T enor
Bass
Earth-ward wind their si - lent way. While the world lies sleep - ing, Through the win-try
J' J i' ft , J J1 i | J ,h V J’ i J>

■
?■■f f'm i11h P F\
M il
145
$p $ J clouds they glide. On through frost - ed

{ t '*0 1' i N i t
por - tals. "Glo-ry be to God, Glo-ry
I, , ■» ■> >
r ' -------- / F / G / A / A / A / F /> G
(tenor is correct, bass is incorrect)
fkitttNBtWi't' a !'i 1 1
be to God. Glo-ry be to— God in hea-ven. Peace, good will to mor - tals."
Exercise 4
Beneath the Forms o f Outward Rite (mm. 5-12) Leo Sowerby
f
Soprano
A lto
f
Be - neath
r r r
the forms of out - ward
f
rite Thy.
N r?8
T enor
B ass
G« c*\ D# r
fu£¥» -J- J j »J
Ir1- r---- r”T ? L u ip j.
f r f1 b'K
sup - per. Lord, is sprpari tn ev - ery qui - et '
Nr ,
.........J ‘ n ]
*r r r ^
* J
r r =1i-j.
J
T-~f-fl. *|» r1 £^= 1
146
r r ^room.__Where
up - per faint - ing souls-
rare ’>i=*_\ fed..
J J — ------- - — J J ------ J-----
Exercise 5
Jubilate (mm. 39-54) Cecil Wright
^ A 39
J>M J j
r--r r n
Soprano 5 fe E = !
Alto
r r r
And His truth en - dur - eth from gen - e - ra - tion. to gen - e - ra
T enor
J l Ju j .^ 1 Lj >J. J J kJ fci
Bass
P P1r rr ^ All
rfi v » r J - J J J> i J h F^~"^ | j j -j

i->— —
T " |~r~r r p j r V — M p - 1T f ~ T P T r r T
tion. GIo - ry be to the Fa - ther. And to the Son, and to the Ho - Iy
/T\
A J &B i ) ft) IV---
j Jft— Jp— J J J (,J i jJE J tj
-f— ft—i*—it—
K k — r r p p i r r = = e j
M --f- rr
irii. j. j n = # = -
=_)------ ■ T.' :------------
4 - - r p p 1r d ir r
f i
r • r- Vfl |J " f r r~
Ghost. As it was in--- the be - gin-ning. is now and ev - er
J'i
pp11 . t=f-T■ ■ iMu[ r
.. fl
J h i- J J J= =
r' --------------£ ------- - r r ^ r -
147
SI
~\K j , | j = i rf- ■ ■j ■■ - = = i i j j = i
L p — p— f — r —
v r ,] i ..........1 r r r r
shall be. World with - out end,------- A men.
* y i 1 r1 =i i i* i
.... L
f ^
r
^
r
J
[-
J = l
= i
148
MODULE 4, SECTION D
Working with Seventh Chords
This section deals with five types of seventh chords: major seventh chords, minor
seventh chords, major/minor seventh chords (dominant seventh chords), half-diminished
seventh chords, and diminished seventh chords. By working with these chords in
different ways you will develop aural sensitivity to chord quality and to the component
parts of the chords that you hear and see. Begin by reviewing the properties of the five
types of seventh chords.
• Major seventh chords are comprised of a major triad at the bottom, with a
major seventh between the root and the seventh.
• Minor seventh chords are comprised of a minor triad at the bottom, with a
minor seventh between the root and the seventh.
• Major/minor seventh chords are comprised of a major triad at the bottom,
with a minor seventh between the root and the seventh. Since major/minor
seventh chords almost always have dominant function, we will refer to them as
dominant seventh chords.
• Half-diminished seventh chords are comprised of a diminished triad at the
bottom, with a minor seventh between the root and the seventh.
• Diminished seventh chords are comprised of a diminished triad at the bottom,
with a diminished seventh between the root and the seventh.
149
Work with the chords in the ways described below.
exercise, the other person states which type of seventh chord is being played.
exercise, the other person sings the four pitches of the chord in comfortable
registers from bottom to top.
3. Working alone, play the root of the chord and then sing the entire chord from
bottom to top.
4. Working alone, view the chord then state its type.
Numbers 1 through 20 are root-position seventh chords in close position.
Numbers 21 through 40 are root-position seventh chords in open position. Following
the chords, an answer key is provided.
rh i— i # 8 =
= % = ^ 8 =
^ 8 -
12 19 20
31
p i *
& *
150
23 25 26 27 30
Im
TJP j o - -i f # = | [t-.bo ' —to----
--- to----- — B—
o to o- to
O o-
—to----
32 33 34 35 36 37 38 39 40
^2=
te bbo je _
151
Working with Seventh Chords: Answer Key
1. Dominant seventh 21. Major seventh
2. Diminished seventh 22. Dominant seventh
3. Dominant seventh 23. Minor seventh
4. Minor seventh 24. Half-diminished seventh
5. Half-diminished seventh 25. Dominant seventh
6. Dominant seventh 26. Minor seventh
7. Dominant seventh 27. Diminished seventh
8. Major seventh 28. Half-diminished seventh
9. Diminished seventh 29. Half-diminished seventh
10. Minor seventh 30. Dominant seventh
11. Diminished seventh 31. Major seventh
12. Major seventh 32. Half-diminished seventh
13. Dominant seventh 33. Diminished seventh
14. Minor seventh 34. Major seventh
15. Diminished seventh 35. Major seventh
16. Half-diminished seventh 36. Minor seventh
17. Minor seventh 37. Diminished seventh

00
18. Major seventh Half-diminished seventh
19. Dominant seventh 39. Dominant seventh
20. Half-diminished seventh 40. Major seventh
152
MODULE 5, SECTION A
Singing and Hearing the Score: Four Voices on Four Staves
The score-reading issues associated with notation on four staves can make the aural
challenges of a choral piece seem even more daunting. The exercises in this section are
designed to improve both aural and score-reading abilities. In order to provide practice in
reading music in open score format, piano reductions of the exercises have not been
provided. The steps listed below should be applied to each exercise.
Step 2: There are six possible pairs of voices in a four-voice texture. Wo

with each pair of voices as described below.
bottom.
Step 3: There are four possible groups of three voices in a four-voice texture.
Work with each group of three voices as described below.
the bottom.
to the bottom.
153
switching voice parts at each barline while conducting. Practice
with another conductor, who will begin on a different voice part.
Exercise 1
Ave Maria (mm. 19-32) Tomas Luis de Victoria
T enor I
San - eta Ma - ri - a. Ma - ter De - i.
T e n o r!
Bass 1 i a f »T f " if
San - eta Ma - ri a. Ma - ter De - i.
B ass!
T I *#=
san - eta Ma - ri - a, Ma - ter De - i. o - ra pro
J it
san - eta Ma - ri - a, Ma - ter De - i, o - ra pro
Bl t" M r — r if r 4 Ilf
B!
154
28
T 1 fcM a t
no - bis, o - ra pro no - bis pec - ca - to - ri - bus.
T2
bis, o - ra pro no bis pec - ca - to - ri - bus.

<s>—
B1
no - bis, o - ra pro no - bis pec - ca - to - ri - bus.
B2
no - bis. o - ra pro no - bis

r J ir
pec - ca - to - ri - bus.
Exercise 2
Et exultavit, from M agnificat (mm. 19-28) Niccola Porpora
19
Soprano I
Soprano 2
Alto I
Alto 2
qui - a re - spe - xit hu - mi - Ii - la
S 1
- tem an - cil - lae, an - cil - Iae su - - ae.
S2
p- p p- Lp p p p r
tem an cil - lae,
i
an - cil - lae
w
su -
r -
ip
ae.
A1
m
tem an cil - lae, an - cil - lae su ae.
A2
m £
- tem an - cil - lae, an - cil - lae su ae.
155
Exercise 3
Regina angelorum, from Litaniae Lauretaniae (mm. 20-27) Wolfgang Amadeus Mozart
20
S oprano
Re-gi-na. re-gi-na an ge - lo - rum.
A lto i J'U =3
Re-gi-na, re-gi-na an ge - lo - rum.
T enor
£
Re - gi - na. re - gi - na ge - lo - rum.
Bass
Re - gi - na, re - gi - na an - ge - lo - nun.
re - gi na. re - gi na an rum.
re - gt na. re - gt na an rum.
T
m
re - gt na. re - gi na an
re - gi na. re - gt na an ge lo rum.
156
Exercise 4
The Road Not Taken (mm. 33-43) Randall Thompson
33
Soprano
m
And both that mom - ing e - qual - ly lay In
Alto
And both that mom ing e - qual - ly lay

Tenor
Bass

35
m
m
leaves no step had trod - den black. Oh, I kept the first for an
leaves no step had trod - den black. Oh. I kept the first for an
leaves no step had trod - den black.

p p--Lr- p r ^
Oh. I kept the first for an -
leaves no step had trod - den black. Oh. I kept the first for an
oth - er day! Yet know-ing how way leads— on to way, I

A
oth - er day! Yet know-ing how way leads on to way, I

T
oth - er— day! Know mg way leads on

B
oth er day! Yet know- ing how way leads on to way. I
157
f \ l h -r - r f . ---I ----------
Jl J) i Jm1—g --------J .i-------" ---o-----------------
doubt - ed if I should ev - - - er come back.
h i
T A J 1 j J J - - 1
rV -------------------- • -------- -------
L i r w = L ==J
^ doubt - ed if I should ev - - er - come back.
U te.
* b
ft
r
Pr -r r r = 1 0 1*
__|______ | L , J — = = -------------- 1-------- 1
k
Used with the permission of E. C. Schirmer Company, a division of ECS

Publishing, Boston, MA.
Multi-part singing is especially challenging when applied to contrapuntal music in
which the vocal lines exhibit a high degree of independence. It may be found that steps 3
and 4 need to be modified somewhat for music of this nature. When applying steps 3 and
4 to the next three exercises, try leaving out the text and singing only the harmonies that
occur on each beat or on each strong beat. One of the most useful exercises in preparing
to rehearse contrapuntal music with your chorus is to sing each vocal entrance while
conducting, continuing with the entering voice part until another voice enters following a
rest.
158
Exercise 5
O Taste and See (mm. 13-23) Ralph Vaughan Williams

13
A u
Soprano
m
O taste and see how gra-cious the Lord is: blest-
Alto
O taste and see how gra - cious the Lord is:.
Tenor
O taste and see how__ gra-cious the
Bass
O taste and
-r- u
see how_
— is the man that trust-eth in him..
m
blest- is the man that trust-eth in him..
Lord is:----- blest is the man__ that trust-eth in him,.
J J . I J p p £ ?him.
gra-cious the Lord is:---- blest is the man that trust - eth in
© 1953 Oxford University Press, London. Used by permission. All rights reserved.
159
Exercise 6
Veni spona Christi (mm. 1-38) Giovanni Pierluigi da Palestrina
ffyft f t o ft **----ft -
Soprano
Ve
>r r
ni spon - sa Chri -
M
Q j I . ,.y ir r p JJ
m t — p *— m n
Alto - - —1----------------
—
1 T M n J jw j
Ve - ni spon sa Chri -
Tenor
*
Boss
Lt---------------------- !
sti, ve ni spon - sa Chri
su.
Ve spon sa Chri
Ve ru spon sa Chri
r-J h - ■ r f
ve - ni spon
— 5
Ve - - ni spon sa Chri - sti.
*^ ve - ni spon -
jH-- rM=l
—*= — — j***] n — j» . ip --f-
sr r y Qti ve - ni spon - sa C ni spon - sa
'iv > a r r r i=F=r=j
su.. ve - ni spon - sa Chri - sti.
160
s
sa Chri Chri
sa Chri sti, ve spon sa
Chri su. ac ci
ve ni spon sa Chri sti, ac -
m
ci - pe co - ro -
—* -------- z^ m
Chri - sti ac ci - pe co - ro nam,-
m
m
ro - nam, ac - ci - pe co - ro - nam.
m
ci * pe_
ac ci - pe co ro
ac co ac
ac a -p e co - ro ac ci pe co - ro
nam, ac ci - pe co ro
161
s
ac co ro
co ro nam,------- ac pe—
nam. ac co - ro
ac ci co ro
nam. ac ro
co ro nam.
nam, co nam.
ac ci pe co ro nam.
162
Exercise 7A
Apply steps 1 through 6 to this exercise, keeping in mind the suggestions that
precede exercise 5 of this section. Then proceed to exercise 7B.
Te Deum (mm. 141-161) Joseph Haydn
Soprano
m i- n e sp e - ra
Alto
Non con - fun - dar, non con fun - dar in ae - ter-num* in ae
Tenor
Bass
vi: non con
ter - num. non con
Do mi-ne spe - ra
non con - fun - dar in ae ter - num. tn ae ter-num, in ae
163
m ftin - dar p. p « *
n ae - ter - num. n ae -
#= K K N h= -‘i -- ------- 1
in ae - ter - num.
W ' 4 ie
ftm - dar in ti
i. . . . h h > =
m i' i bd=p=j7 » ' Tin
vi. non con - fun - dar ae - ter - mim.
Up p p i
ter - num. non con - fun - dar in ae - ter - num.
147
ter - num.
-*P— h--------- fc-fc----- b---- . ~ V 'I T 'F 3 ~ P P * i* « — ^ —t i i

l |T-F r r ■■ J J
Do - mi-ne spe - ra - . . .
I _ _ _ _ _ _ _ _ _ _ _ _ _ m_ _ _ _ _ _ _ _ _ _ _ ,
...... h 1m tt» P T fh * m m- - - - - -
- P F
non con - fim - dar. non con fun - dar in ae - ter -
U p f n ;
in ae - ter - num. in te
non con - fun - dar m ae ter num. non con
non con • fun - dar m ae - ter - num.
- num. non con - fun - dar in ae ter * num.
Do mi-ne spe - ra
164
s
fun - dar. non con fun - dar in ae in ae
non con fun - dar. non con fun - dar in ae ter - num.
T
non con ter - num. in
B
vi, non con fun dar in ae
153
p i . „ , ... ________ .................... 8ft ft

L i ----------------ft, p. P----------P L V
§ F * * = *
ter - num, in te Do - mi - ne spe -
a |. i- i— I , = i ^ K --- h-----\-----f....- H- J ----- » ----

§ r p - j — - . . j ... j - J
in ae - ter - num, in te Do - mi-ne spe - ra -
p- :. p Kft
1-P --- f t ■ •£ - f - P -ft— i ---------
Do - mi - ne spe - ra - - vi. non con - fun - dar
.jfe' J * >fupfrur r r r b ^ ^ I
non, in te Do - mi-ne spe ra
S
ra
non con fun - dar in ae ter num, con
in ae in Do mi - ne spe -
vi. non con fun - dar in ae ter
165
1y P J y rn' f c p f r P F P P P
non con-fun-dar, non con-fun-dar in ae - ter-num, non con-fun-dar in ae-
\l . j' > , J „ M L - L h K k
% P 1 7 J »J
fun-dar, non con fun-dar in ae - ter-num. in ae - ter-num,
■ fe -P -'-P -P - P .(7
ra - vi, non con-fun-dar, non,
(J f f »
non.
Jt ,
T f
> _ = = ,
r pp J
i . .
non
, , - i »
con-fun-dar in ae-
- = h>irif-p-K P
- num, non con - fun - dar in ae - ter
160
ter num.
non con fun - dar in ae ter - num.
ter num.
num, m ae ter num.
166
Exercise 7B
Te Deurn (mm. 141-161) Joseph Haydn

141
Soprano
mi-ne spe - ra
Alto
Non con-fun - dar. non con fun - dar in ae - ter-num. in ae
Tenor
Bass
non con
ter - num. non con
m
Do spe
non con - fun - dar in ae - ter - num, in ae ter-num. in ae -
167
145
fun - dar in ae ter ■num. m ae
fun - dar in ae in
non con fun dar in ae
B
ter - num, non con fun - dar in ae ter • num.
147
ter - num.
Do spe ra
non con - fun dar. non con fun - dar in ae ter
in ae ter num, m
non con - fun - dar in ae ter con
vi, non con fun - dar in ae ter - num.
- num. non con - fun - dar in ac ter - num.
Do
168
r • r — v p rnJ-'-p 'F
fun - dar, non con - fun - dar in ae - ter - num, in ae
eS
m H P U *
non con - fun - dar, non-------- con - fun - dar in ae - ter - num.
M jr
non con - fun - dar in ae - ter - num. in te
con - fun - dar— in ae - ter - num, non.
153
ter - num. in Do mi - ne spe -
m ae ter num. m Do
Do mi - ne spe - ra non con - fun - dar
non, m Do mi - ne spe ra
ra
non con fun - dar m ae ter non con
m ae ter - num. Do mi - ne !>pe -
non con fun - dar in ae ter
169
£
P P ip
non con-fun dar. non con-fun dar in ae - ter-num, non con-fun-dar in ae-
fun dar. non con - fun dar in ae - ter-num, in ae - ter-num.
£
r p p
ra - vi. non con-fun-dar. non. non. non con-fun-dar in ae-
i - ;
- num. non
PP
con - fun •dar in ae - ter
160
ter num,
non con fun - dar m ae ter - num.
ter
ae ter num.
170
MODULE 5, SECTION B
Error Detection in Four Voices on Four Staves: Student Section
The Student Section is comprised of four-voice musical excerpts containing no
throughout. These exercises may be performed in a variety of ways as described at the
beginning of Module 1, Section B. If you want to get to know the excerpts before
performing the error-detection exercises, use the techniques applied to the four-
voice exercises in Module 5, Section A. Familiarize yourself with these exercises
without playing them on the piano.
Exercise 1
Weary Wind o f the West (mm. 1-16) Edward Elgar
Soprano
Wea wind of the w est ver the
Alto
Wea wind of the west, wea - ry wind of the west
Tenor
Wea wind of the west, wea - ry wind of the west
Bass
Wea rv wind of the west O ver the
171
J.
bil - low-y, bil - Iow-y sea_ Come to my heart. and rest!
O - ver the bil - low - y sea_

i 1Come
j toi myj heart.
O - ver the bil - low-y sea Come to my heart.
bil - low - y sea Come, come to my

it
s
r" JlJtr come to my heart! Ah, rest- with me!.
come to my heart! Ah, rest- with me!_
T -------
M j j
come to my heart!— Ah, rest- with me!.
heart, and rest! Ah, rest- with me!-
Exercise 2
Chi vuol' udir’ (mm. 68-93) Luca Marenzio
68
Soprano
che n’& gia p te n che

Alto
$ che n’e
—m
g ia pten o - mat. che
Tenor
che
Bass
che n'& gia p te n mat.
172
7t
—* f\
$A r r h J 4 = = l
y ---------- ■■r r i * r
n'd gilt pien’ <) mai cia - scu - na val
r
% r n'e
^
J =|
gi&
J
pien'
-----1—
o - mai
4
cia scu - na
u
val -
__1____ p
h- r
n'£ gia pien* c> mai cia scu - na val -
s
che n’e pien' mat,
A
che n’e pien’ mat, che n 't
che n 'b
che n’fc gia pien' o mai. che n'&
pien' mai cia scu na val

A
pien’ mai, che n'e pien'

T
pien' mai, che n’fc pien'

B
gih pien' o mai
173
che n’fe
A
mai cia scu na val

T
cia scu na
B
cia - scu - na val - - - - le.

89
mai cia scu na val

A
c ia scu na val
T
val cia scu na val

B
cia - scu na val - - - - le.
Exercise 3
O God Be Merciful Unto Us (mm. 1-34) Christopher Tye
Soprano
O
£
God be
nEn^~f~r%
mer-ci-ful un - to- us. un - to-
A lto
¥O God be mer-ci - ful un - to- us. un - to

T enor
O God be mer-ci-ful un - to us. un

Bass
O
r r'p
God be mer-ci - ful un
174
eMe
us. O God be
M' r r
mer-ci - ful un - to_
m
us. un -
JLJ— l j — m
O God be mer-ci - ful un - to_
to us.. O God be mer-ci-ful
to us.. 0 God be
tO- US. and
us. un and bless us, and bless

dz±:
un - to us, un - to- and bless us. and
mer-ci - ful un - - - to and bless-
J/) y
bless us. and bless us.. and bless.
and bless us, and bless us, and bless us..

I i> m
bless us, and bless us. and bless us, and bless-
m
us. and bless us,. and bless.
175
m
us, and bless us: and shew the light of his coun - te - nance up - on
d z± z
and bless us: and shew the light of his coun - te-nance, of his
us, and bless us: and
us, and bless us: and shew the light
p i g J I J .J J
us, his coun - te-nance up - on us,.
con - te - nance- up - on us..
n rr
shew the light of his coun - te - nance up - on us. and shew the
i.
f u
of his coun - te - nance up on us.. and
**=
and shew
r -r- f the light of his coun - te-
-» w~
and shew the light of his
J. j -j-:J Y f f t m
light of his coun - te-nance up - on us.
shew the light of his coun - te - nance. and
176
nance up - on. us, his coun - te-nance up on.

A
m
coun-te-nance, of his coun - te - nance. up on_
T
and shew the light of his coun - te - nance up - on

B
shew the light of his coun te nance. up - on us.
177
MODULE 5, SECTION C
Error Detection in Four Voices on Four Staves: Teacher Section
vocal parts. The correct pitch is indicated just outside of each circle. The same errors are
present in the keyboard reductions, where they are not circled.
Exercise 1
Weary Wind o f the West (mm. 1-16) Edward Elgar
B
Soprano
Wea - ry wind of the west- O - ver the
Alio
m
Wea wind of the west, wea - ry wind of the west-
Tenor
Wea - ry wind of the west, wea - ry wind of the west-
Bass
m m
Wea - ry wind of the wesL O - ver the
P H ~jr Jtj m m
Reduction
m m m
178
m
bil - low-y. bil - Iow-y Come to my heart, and rest!
Bl>
~m— m m
O - ver the bil - low - y Come heart.
O - ver the bil - low-y Come to my heart.

A!-
m
bil - low-y sea Come, come to my
jj-r j j f ¥ T"
-J.— J u . J-
I
come to my heart! Ah, rest. with me!.
come to my heart! rest with me!.
come to my heart!— Ah, test with me!.
heart. and rest! Ah, rest with me!
179
Exercise 2
Chi vuol' udir’ (mm. 68-93) Luca Marenzio
Soprano
che che
A lto
che n 't g il pien' o - mai. che
T enor
che
Boss
che rih pien' mai.
R eduction
n‘e pien' mai cia scu na val
n’fe mai cia scu na val
pien’ mai cia scu na val
TT
180
R
76
che pien’ mat. che n'6
che n’fe gih che

T
che n’e
che n’e pien mai. che n'e

76
pien mai cia - scu val -
pien o - mai. che n'6 gia pien'
m
pien o - mai, che n’& gia pten
E
gih pien
4 • A.
r ttp $
J-
181
che n'£ pien’
mai cia scu na val

T
mai scu na
B
cia scu na val
mai cia scu na val

A
cia scu na val

T
val cia scu na val
89
cia scu na val
182
Exercise 3
O God Be Merciful Unto Us (mm. 1-34) Christopher Tye
Soprano
m
w
O God be mer-ci-ful un - to_ us. un - to-
Dt.
Alto
O God be mer-ci - ful un - to_ us, un -m to-
Tenor
= F= F
God be mer-ci-ful un - to us, un -
Bass
O God be mer-ci - ful un
n j j j m j j
Reduction
r r r if “ r> (j f r ir
j H i
B> _
S
m
us. O God be mer-ci-ful un - to- us, un -
A
j u y
us,_ O God be mer-ci - ful un - to-
T
to us,. O God be mer-ci-ful
to US,-
S &rO\ God
~^ j ~ be
u
ub±=
m
T r r mU
j — i HA
183
i r J i M n . . M i ] 1 M =j
■ * r
tc> and
■ C (ha I f note)
- 1 ---------------f T i --------- i V -
° ' -&---------- 1
us nn - rn
J
usT and bless us, and bless
J lU - ^ . n i r = = = J. =! ■m —------
j * r i a 1u f - - f r
un - to us. un to--------- IIS, and bless us. and
- E F T .'- ^ m+F ------ r -----------------

— P
me r - c i- f u l un - to us, an rt h lf «
j - m| mJ. J i m] , =
m .mn + gj - - -■f ji
— 1— i-
t— r f ‘ j r r ~r~r~r—
11°^ U -t
j
l
n P'
J- J j j 1 «
r
. --- =—
p i
bless. us. and bless us, and bless.
and bless us. and bless us. and bless us,
T m
bless— us. and bless us. and bless us, and bless__
B
m ft
us. and bless us. and bless.
184
us, and bless us: and shew the light of his c o u n -te - nance up - on
and bless us: and shew the light of his coun te-nance, o f his
us, and bless us: and
us, and bless us:
I S
us, his coun - te-nance up - on us,.

B
m m
con - te - nance_ up - on B
p- r r J - J-
shew the light of his coun - te - nance up - on us, and shew the
b ,'
1 I I
of his coun - te - nance up on us.. and
I " rn ; a
■J "J:
r-
J- J J J..J
- * - ± 4 =
r - r
185
and shew the light of his coun te-

A
and shew the light of his

T
light of his coun - te-nance up on. us.

B
shew the light of his coun nance. and
nance up - on us, his coun te-nance up on

A
m
EX.
coun-te-nance. of his coun - te - nance. on—
T
and shew the light of his coun - te - nance up - on

B
shew the light his coun nance. up - on us.
186
MODULE 5, SECTION D
Working with Inverted Seventh Chords
Module 4, Section D, addressed seventh chords in root position only. Inverted
seventh chords present additional challenges to the conductor’s ear and mind. Begin by
returning to the first page of Module 5, Section D, and reviewing the properties of the
five types of seventh chords. Then work with these chords in the ways described below.
An answer key is provided on the following page.
1. One person plays the chord. Without looking at the exercise, the conductor states
which type of seventh chord is being played and in what position the chord is in
found (root position, first inversion, second inversion, or third inversion). For
diminished seventh chords, naming the chord type is sufficient. Determining the
diminished seventh chord’s position is not possible without seeing how the pitches
are spelled. Any of the pitches could be the root since the chord is symmetrical in
nature.
2. One person plays the chord. Without looking at the exercise, the conductor sings the
four pitches of the chord in comfortable registers from bottom to top.
3. Working alone, the conductor plays the lowest pitch of the chord and then sings the
entire chord from bottom to top.
4. Working alone, the conductor views a chord then states its seventh-chord type and
position. For diminished seventh chords it will now be possible to state their position
in addition to their chord type.
187
1 2 3 4 5 6 7 8 9 10
[iVf-. 1 --- -------

o
§ 8 ^8—
A I to
7. XT
a o -^88= 1^0;
K L-tto
16
---^ -----1
U ------8—
HH
to --fe o - ± 2— O -& 9— | to---- t8
21 2 2 2 3 24 2 5 2 6 2 7 2 8 29 30
■tfo
o- XT
--------- e -------- -V8--
.. .tfg— ---------f t -------- —8— -O -
31 32 33 34 35 36 37 38 39 40
O
r p ^ — [ " tb = | -------° ~ ---- 8
4 = ■ -{toM
b*- •O-
K
<7 — 8 — <7
=£*=
188
Working with Seventh Chords: Answer Key
1. Minor seventh chord, third inversion
2. Minor seventh chord, first inversion
3. Dominant seventh chord, second inversion
4. Diminished seventh chord, third inversion
5. Half-diminished seventh chord, third inversion
6. Diminished seventh chord, root position
7. Dominant seventh chord, root position
8. Half-diminished seventh chord, first inversion
9. Minor seventh chord, root position
11. Major seventh chord, second inversion
12. Half-diminished seventh chord, second inversion
13. Major seventh chord, first inversion
14. Dominant seventh chord, third inversion
16. Diminished seventh chord, second inversion
24. Major seventh chord, third inversion
25. Major seventh chord, second inversion
29. Dominant seventh chord, root position
32. Major seventh chord, first inversion
33. Diminished seventh chord, second inversion
36. Dominant seventh chord, first inversion
40. Major seventh chord, root position
190
MODULE 6, SECTION A
Singing and Hearing the Score: Chromatic Harmony
The exercises in this section contain chromatic harmony and modulations to foreign
keys. The recommended steps are the same as those suggested for Module 5. Although
conductors with accomplished aural skills will be able to sing each chord vertically, those
who find this aspect of the process to be difficult can benefit from performing the earlier
steps on the list. Even working solely with pairs of voice parts can be very useful.
It is especially important to maintain the tonic pitch in your mind when working
with chromatic harmony. Pause frequently to sing the tonic pitch. When the music
modulates, pause to sing the new tonic followed immediately by the original tonic. Keep
both tonics in mind while the music is in the new key.
When engaging in multi-part singing, you may find it beneficial to sing individual
chords repeatedly until the harmony becomes clear in your mind. This will be
especially helpful for the more chromatic or dissonant harmonies. After singing a chord
a few times, feel free to play the chord on the piano to check your accuracy.
When imagining the music you will find that dissonant chords are much more
difficult to hear clearly than consonant chords. Dwell on these chords, taking the time to
sing them and then imagine them again to reinforce the aural image.
191
Step 2: There are six possible pairs of voices in a four-voice texture.

Work with each pair of voices as described below.
bottom.
Step 3: There are four possible groups of three voices in a four-voice

texture. Work with each group of three voices as described
below.
the bottom.
to the bottom.
switching voice parts at each barline (while conducting). Practice
Exercise 1
Although this piece is in D-flat Major, use A-flat as your reference pitch since
A-flat major is the key in which this passage begins.
192
Cantique de Jean Racine (mm. 40-51) Gabriel Faure
Soprano
Rd - pands sur nous le feu de ta gra - ce puis -
Alto
a j j
R6 - pands sur nous Ie feu de ta gra ce puis -
Tenor ^>L<, _i j £
R6 - pands sur nous Ie feu de ta gra ce puis -
Bass
Rd - panels sur nous Ie feu de ta gra - ce puis -
43
S
X-Jf tAk
san - te, que tout Ten - fer. que tout Ten
san -
f
te,
r ^
que tout Ten - - - fer, que tout Ten
T t e
te, que tout l’en - fer, que tout Fen

i*___ p -■V .....
B
san - te. que tout Ten - fer. que tout Ten -
46
fer fuie au son de ta voix, Dis si - - pe
A
m
fer fuie au son de ta voix, Dis - si - pe-
fer fuie au son de ta voix. Dis - si - pe

-M____ *____ m_
B
fer fuie au son de ta voix. Dis - si - pe
193
5 §
Ie som - meil d’une a - me Ian - guis - san te.
ifefe
Ie som - meil d'une a - me Ian - guis - san te.
le som ~ meil Ian

r r 'r
guis - san te.
Ie som - meil lan guis - san te.
Exercise 2
While working on this exercise, sing the tonic during each rest. When the
music modulates, sing the new tonic and the original tonic during the rests.
Hostias, from Requiem (mm. 3-53) Wolfgang Amadeus Mozart

3
Soprano
Alto • j 1 111 1 11 r r r
sti - as et pre - ces mi-ne!
Tenor
Bass
i n
mi-ne! au - dis of n -m u s
194
qua - rum
[ \A A J- J ' # = i rr_ r~ h J ' J n d -- r f — in — -*— J — i

f i 1T -r f — r— r r
sus - ci - pe pro a - ni ma - bus it - Iis. qua - rum
j- j1 j J J J A A J J
M l i if r
qua - rum
M d
am fa
must
-M -i
i
F p
195
= 4 = 1 -rtjr- j itJ - =^= = * = ] -d—irial—-rri

:<§ ■ y. *= ? = 1 - =^= d lp = t^=
f - f — =^ l
mus; tu sus - ci - pe pro a - ni ma - bus u lis.
J '1 J J Jpr J A A
^ , J L ■■ff- f- -i =£= = ^= l
a' ^ r * = ^= i
qua -■rum ho di-e. ho d i-e me - mo ri - am

39 ,
J J- - J U I ------ . J-
, . ,, -J> J> J> J-
T & t V l -----r — - j L - ^
y Ir = f = ly jft - "F P 'I — M = ----------- 1 ----------- F - = -
qua - rum ho d i-e. me - mo ri - am fa - .

j.
J
- .r x - ,- f1 ^ ,4 - m - 4 - ^ ! h h
qua - rum ho - d i-e . ho - d i - e m e - mo
fa ci - mus. Fac e as. Do - mi-ne! de

43 .
— J- rJ J. "ra------
rip — = H f4= J> } J> |
y - M - - F -
— P" T........ Lr * - r —1 r T f t
- - ci - mus. Fac e as. Do - mi-ne! de
v---------------- j'j' J J pJ = -JU U > -

,/ > i—
i r * * f^ = \4 = = M M----- M f - p
ri - am fa - ci - mus. Fac as. Do - mi - ne de
te trans - i - re ad vi
=fpt=- J - =d= ij- J =4= ----------- . .. _
y r »r— f— =#= =b= • hi * * |

mor - te trans i - - re ad vi - - tam.
A^----- —i + L - —p —
J y* A
■ | >j
L b ^ -H -r
mor
I = L= 'I r
—hi-------
= t = T T + 4 = —t-#f----- ' T * * 11
te trans - i - re ad vi - - tam,
196
Exercise 3
Waldesnacht, opus 62, no. 3 (verse 1) Johannes Brahms
Soprano 5 ^
Wal - des-nacht. du wun-der-kah - le. die ich tau-send Ma - Ie
Alto
J i ■'i J ' J 9J0-------------
J '^ J ---------- m------------ m---- 9----#
Wal - des-nacht. du wun-der-ktth - Ie. die ich tau-send Ma - Ie
Tenor j .j u
Wal - des-nacht. du wun-der-kah - Ie, die ich tau-send Ma - Ie
Bass
Wal - des-nacht, du wun-der-kOh - le, die ich tau-send Ma - Ie
f jP h 1 J d=j
I- i — - 4-.— J ■- -
% ^ 7 J *=! ■
griiB: nach dem Iau - ten Welt - ge - wOh - le, o. wie ist dein Rau - schen
j. T J ni 1j j ni a 1j j J nJ 1 j r ■■— p
grttB; nach dem Iau - ten Welt - ge - wtth - Ie, o. wie ist, o wie
J J i J. J J - i
grOB; nach dem Iau - ten Welt - ge - wOh - le, o. wie ist dein Rau - schen
griiB: nach dem Iau - ten Welt - ge - wOh - le, o, wie ist dein Rau - schen
sOB, o. wie ist dein Rau - - schen sUB! Trhu - me-
j
ist dein Rau - schen sUB, dein Rau - - schen stlB! Tr3u - me-
sOB. o, wie ist dein Rau - - schen sOB!

m
TrSu -
> 09 , a _ J _______
Nr ‘-r
sBB, o, wie ist dein Rau - schen sOB! Trau
197
risch
v-
die mfi -
p 'r
den Glie - der berg ich weich ins Moos.
risch die mU - den Glie -

J ‘ ' J J i )'a
der berg ich weich ins Moos..
j
pr
me-risch
9I'm
die mil - den Glie - der berg ich weich ins Moos.
me-risch die ma - den Glie - der berg ich weich ins Moos,
und mir ist als wOrd ich wie - der all der ir - ren Qua - len
und mir ist als wtird ich wie - der all der ir - ren Qua - len
und mir ist als wOrd ich

r-+ r— p ■r
wie - der all der ir - ren Qua - len
und mir ist als wiird ich wie - der ail der ir - ren Qua - len
m ~o—
los, all der ir - - ren Qua - - len Ios.
los. all der ir - - - ren Qua - len los.

7T\
£
los. all der ir Qua len los.
J :tz J
T ~r r «r ' e f
r
los. der Qua len los.
198
Exercise 4
Some Children See Him (verse 3 ) Alfred Burt
Soprano
Alto
P ' M p j r P P ' r j nr P ' ^ P M P r P
The ch il-d ren in each d if - fre n t— place— Will see the b a -b y J e -s u s ’ face Like
S j> _h h h , Ki L J> jl J. 4
T enor
Bass
^ p p pp P ; 1P P P P p p f ’ p
=fp=4= ■ » = *( =
/Tv
r*i
^ r P P P P P‘ P l h -
f PJr
theirs. but bright with heav’n - l y -
U f P
grace,------ ^ And filled with ho - ly _ light. 0
- T j- fl— J * - J> =*= - X J U J»
r i - J 3 - =4= J>v
=P=-P --P--P“ -P- Vri/ -P - »=?- F -P -P - =^y B- » —c— n
•p P T " P TP L r P P P Pr p P r: p
lay a - side each earth - ly thing, And with thy heart as o f - fer - ing,_____ Come
j> J> j J> j> J' j. J> i i j Ji j LJ» j- j>

P P P P P P L f P p 1 P P=P p fcp p r
M M p1h ; ri •( f rf t j r
w o r-ship now the In - fant King, T is love that's bom to - night!.
/TV
J>J J> .h >

J'
I p~p p p p £ P 1P P - P p r
Lyric by Wihla Hutson; Music by Alfred Burt. TRO —© —Copyright 1954
(Renewed) 1957 (Renewed) Hollis Music, Inc., N ew York, NY.
199
Exercise 5
Before working on this exercise, practice singing ascending and descending
chromatic scales starting on different pitches.
Dies irae, from Requiem (mm. 13-45) Giuseppe Verdi

il . . . . . .
Soprano
es
A lto
es
Tenor
es es es
Bass
Di es il es
la.
Sol vet
Sol vet
Sol vet.
la. Sol vet.
200
m
sae - clum in fa - vil la: Te - ste.
A
m
sae - clum in fa - vil la: Te - ste.
T m
Sol - vet sae - clum in fa vil la: Te - ste.
B £ — *
Sol - - vet sae - clum in fa - vil - la: Te - - ste.
s Ll> j f ~—rfr
Da - vid cum Si - byl la.
A
ip
Da vid cum Si - by la.
T =£=
Te - ste Da - vid cum Si byl la. Di
B £ £ = r-— *
Te - - ste Da - vid cum Si - byl la. Di - - es
S
es rae. es
es rae. es
es, es rae, es
i - - rae. Di - - es i - rae, Di - es
201
j m
la. Sol - vet sae - clum. Sol - vet_
m
la. Sol vet sae - clum. Sol - vet-
la. Sol vet sae - clum. Sol - vet_
tp -------— pte---------- ^ = = -
la. Sol vet sae - clum. Sol - vet-
38
in fa - vil - la: Di - es. Di - es
§ r ¥---
i - i^r
= # = __|_!__ 11
f
f f - - —
*— k»—
iY r bf r lY r kr r py r
in fa - vi - la: Di - es i - rae, Di - es il - la, Sol - vet
i - rae.
1 - rae,
rkH* *-
t - rae.
sae - clum in fa - vil - la: Te - ste Da - vid cum Si - byl - la.
202
MODULE 6, SECTION B
Error Detection in Chromatic Harmony: Student Section
The Student Section is comprised of musical excerpts containing no errors. The
Teacher Section contains the same excerpts with circled errors scattered throughout.
These exercises may be performed in different ways as described at the beginning of
Module 1, Section B. If you want to get to know the excerpts before performing the
error-detection exercises, use the techniques that you applied to the exercises in Module
6, Section A. Familiarize yourself with these exercises without playing them on the
piano.
Exercise 1
Chorale, from The Passion According to St. Matthew J. S. Bach
r' r f ± n i j .
Soprano
Alto
Z j r
Wenn ich ein-mal soil schei - den. so schei - de- nicht von mir!
Wenn ich den Tod soil lei - den, so trite du. dann her - ftir!
p A A j i j j T J , j j
Tenor
Bass F-T" r~V r r>r 1f r
/C\
til J F = fe = i J J =q — — n - 1 — r - ? — -- ha
Y -f- 1 '■r -r- r - H

trtrr" I f W
L *
Wenn mir am al - Ier - bang - sten wird um das Her - ze sein, so
p*fit==w=
J A
y y T] tJ J J. 7 J
K n r—r ~ =f=J ' [j»r
— Lp---- U
203
m 1 1 f1 0
reiB mich aus den Ang - sten kraft dei - ner Angst und Pein!_
/C\
j A j
Hr r-y-y-ir-T X j r ' '*r r
Exercise 2
Crucifix us (mm. 1-11) Antonio Lotti (Arranged by Archibald T. Davison)
Soprano
Cru - ci - fi
Alto
Cru - ci - fi
Tenor
Cru - ci - fi
Bass
Cm - ci - fi xus, cru - ci -
m
au - ci - fi
m
p m
xus, a u - ci - fi -
f-r - i f c
xus, cru - ci - fi -
fi - xus. - ci - fi -
Used with the permission of E. C. Schirmer Music Company, a division of ECS
Publishing, Boston MA.
204
Exercise 3
Ergebung, from Seeks Geistliche Lieder Hugo Wolf
Soprano
Ma
r r~FT T r r ^ f
Dein Wil - Ie. Herr.— ge - sche - - he! Ver - dun - kelt
T ''i g
Alto
—»---- w~--------J -1-1—®------- ~a~
Dein Wil - le. Herr. ge - sche he! Ver - dun - kelt
Tenor
Dein Wil - le. Herr. ge - sche he! Ver - dun
Bass
Dein Wil - Ie. Herr. ge - sche - - he! Ver - dun
schweigt das Land.. Im Zug der Wet - ter se - he.

&8a
j j 1 1 j -» ' r r - f r ?
schweigt das Land.. Im Zug der Wet - ter seh\
=y»
kelt schweigt das Land. Im Zug der Wet-ter seh’____

m___m— m--- ^ „______ - __ p
kelt schweigt das Land. Im Zug der Wet - ter seh’. ja
seh’ ich schau - emd, schau - emd dei ne Hand___

A
ich schau - emd. schau emd dei ne Hand.

T
ich er schau - emd. schau emd dei ne Hand
seh' ich schau - emd, schau emd dei ne Hand____
205
r - lT — T
O mit uns SQn - dem ge - he er - bar - mend, ge - he er -
O mit uns SQn - dem ge - he er - bar - mend.

j *
p — r m f - - r r " r
O mit uns SQn - dem ge - he er - bar - mend, ge - he er -
J
O mit uns SQn - dem ge - he er - bar - mend, ge - he er
p bar - mend ins— Ge - richt! Ich beug' im tief - sten We-he. im
- M r Jt I = If
[ 1 r f
- ]r — —
ge - he er - bar - mend ins— Ge - richt!__ Ich beug' im tief - sten
—p ____ p f m F ■ f-
bar - mend ins— Ge - richt! Ich beug' im Weh', im tief - sten
b 'f f r
VV f I ftp - |» - I p - p i
<*>
bar - mend ins Ge - richt! Ich beug’ im tief - sten We-he, im
tief sten We - he zum Staub— mein An ge - sichL

A
We - he. im tief sten We he zum Staub mem An ge-sicht.

T
zum Staub, zum Staub— mein An sichi
tief sten We - he zum Staub mem An sicht.
206
Ms
p q r :.. p | f ■^ T - f
Dein Wil - Ie, Herr. ge - sche - he! Dein Wil - Ie,
Dein Wil - le, Herr, ge - scheh’!- Dein Wil - le.

J*
i— r ~ '
Dein Wil - Ie,
r Herr, ge - sche -
A
» r- r r
Dein Wil - Ie, Herr, ge - scheh’, ge - scheh’! Dein Wil - le, o
38
Ms
Herr,— ge - sche he! Dein Wil - le, Herr,.

Ms
Herr, ge - sche - - - he! Dein Wil - Ie. Herr,.
m
he! Dein Wil - Ie, Herr! Dein Wil - Ie, Herr,.
zft
Herr, ge - scheh', ge - scheh'! Dein Wil - Ie, Herr,.
Ms
ge - sche
Ms
ge - scheh'. ge - sche -
=«A
ge - scheh'.
t - tr r ge - sche
ge - scheh’. ge -
207
f T ! r ff ff r
- crh^h*
A
T ........ 0^ "^ 9 J ! d- - ■—Itpjr---" __________ P 1
- e. er ge - sche - he.
T
- - - he. er ge - sche - - he.
B
*------ S g-J LhJ:------------- L A A ------1
sche - he, er ge - sche - - - - - he,
56
er ge - sche - he!-
A
w
ge - sche - heL
T J*
“27“
er_ ge - sche • he!-
er ge - sche he!.
208
MODULE 6, SECTION C
Error Detection in Chromatic Harmony: Teacher Section
vocal parts or indicated by arrows when the music is presented on only two staves. The
correct pitch is indicated just outside of each circle or near each arrow. When the music
is presented on four staves, the keyboard reduction includes the same errors as the vocal
parts, where they are not indicated with circles or arrows.
Exercise 1
Chorale, from The Passion According to St. Matthew J. S. Bach
Soprano
A lto
r r -r r if r
Wenn ich ein - mal soil schei - den. so__ schei - de__ nicht von mir!
Wenn ich den Tod soil lei - den, so _ tritt du--- dann her - fUr!
T enor
J , J .J
Bass
r f r 1nr -f - r ir ' f p
r ' r 'r r r r I f “ "r

0
Wenn mir am al - ler - bang sten wird um das Her - ze sein. so

r7\
j J j Aj
209
/Tv
ir> n J j = t= i -----p — ------- = - I--------------------
i j 11 —
M ^ itr r ^
* r X ’ - '? ^ f1 t , ¥ r
X G
reiB mich aus ce n Ang - sten kraft dei - n er Angst und Pein!
J ,
... j . ■ J J — | - L f -
ir— 1 L J i-- r~ f' r ' r - r t j r ' »r r ' 11
Exercise 2
Crucifixus (mm. 1-11) Antonio Lotti (Arranged by Archibald T. Davison)
Soprano
Cru
Alto
Cru ci
Tenor
Cru ci
Boss
Cru ci xus. cru

u s 'T T 'T
Reduction <
210
xus, c ru xus.
xu s, c ru ci XUS,
ci xus.
B
tr
x u s. cru -
-i A
Exercise 3
Ergebung, from Sechs Geistliche Lieder Hugo Wolf
Soprano
Dein Wil Herr, ge - sche h e! Ver dun kelt

Alto
Dein Wil le, Herr. sche he! Ver - dun kelt

Tenor
Dein Wil - Ie. Herr, sche he! Ver - dun
Bass
Dein Wil - le. Herr. sche h e! Ver - dun
Reduction
211
schweigt das Im Zug der Wet ter se he.

A
schweigt das Land. ter seh’,.

T
kelt schweigt das Land. Im Zug der Wet-ter seh’.
kelt schweigt das Land. Im Zug der Wet ter seh'.
A m
seh' ich schau - emd. schau emd dei ne Hand.

Ait
A
ich schau - emd, schau emd

T
ich er schau - emd, schau emd dei ne Hand.
seh’ ich schau - emd. schau emd dei ne Hand.
212
O mit uns Sttn - dem ge - he er - bar - mend, ge - he er -
m ¥
O mit uns SOn - dem ge - he er - bar - mend.
*# s
r r r
O mit uns Siln -B
m dem ge - he er - bar - mend, ge - he er
L):jtX - -= Ff=^f- r
— f
O mit uns Siln - dem ge - he er - bar - mend. ge - he er -
mm J J
$
J
J J J ----------IfcJ. J iA J
r »r r
bar mend ins Ge - richt! lief sten We - he, im

A
mend ins— Ge richt!__ Ich beug’ im tief sten

T
bar mend ins— Ge - richt! Ich beug’ im Weh’, un tief sten
bar mend ins Ge - richt! Ich beug’ im tief sten We - he. im

22
213
*A
tief - sten We-he zum Staub mein An - ge - sicht.

a& P .r j|J J]ifft .ii
§* i ^j ^ J J- ' J J
*if%r
We - he. im tief - sten We - he zum Staub mein An - ge-sicht.
» A f r 1 - 1.— t - ■ M ~
Weh' zum Staub, zum Staub— mein An - ge sichL.
r— r-r-¥ -f F -<*■
m
tief - sten We-he zum Staub mein An - ge - sicht-
■J— J —L *8,
r Hr f T r
A A
A - f M. j
■
£
r r p'
Dein Wil - Ie. Herr, ge - sche - - he! Dein Wil - le.
Dein Wil - le. Herr. ge - scheh’!- Dein Wil - le.

±8*
Dein Wil - le. Herr, ge - sche -
r i r m
Dein Wil - le. Herr, ge - scbeh'. ge - scheh’! Dein Wil - le, o
j
> r- --------------- m
j j - J1 j j - j *
M -r r m
214
*>—I- k
m
Herr,— ge - sche - he! Dem Wil - le. Hem-
A
Herr, ge - sche - - - he! Dein Wil - le, Herr,-

T
he! Dein Wil - le, Herr! Dein Wil - le, Herr,-
Herr, ge - scheh', ge - scheh'! Dein Wil le, Herr,-

-J- -J-
$ *
J i A. J ___ 4
D*
44
ge - sche
A
scheh', sche
T
scheh'. sche
scheh’,
215
50 It S.
— i "M— s - ----------------- ----------------- T---------------- -|
I f T f — t f p T'~
—*£ > 7 P
Fw*
/j
T *-*■ J ' =* f .............4 g j 1~ ji —
---------
e. er ge - sche - he,
JLhK r =f — 11------ fc’r "
*<----- J - ----
V ± A — r J he, er ge - sche - - he.
p.
U o t r = f
11 r = t y —
sche he, er ge - sche - he,

- h $ r - ^ -------- * -------- = + . O [ J ,— 1y — >- j —
^ J U L p : --------- --- f — " " tf< _ p -
T — -[J " r T*
J-
= 4 j .— n = ± ----------- ..........
-------------
i / r = t
*—
-----------
V- L+— H
er. ge - sche he!.

A
er. ge - sche he!.

T
er. ge - sche he!.
er. ge - sche he!
216
MODULE 6, SECTION D
Pitch Reinterpretation
The purpose of this section is to develop your ability to move from one key to
another by changing the scale degree function of an individual pitch. This will help you
sing and hear modulating passages accurately, and also decrease your reliance on the
accompanist in rehearsal. When working on exercises 1 through 3, sing scale degree
numbers or the syllables of the “movable do” solfege system.
Exercise 1
A. Choose any pitch on the piano and tonicize that pitch by singing an ascending
major scale. Repeat using different pitches.
B. Choose any pitch on the piano and tonicize that pitch by singing a descending
major scale. Repeat using different pitches.
C. Choose any pitch on the piano and tonicize that pitch by singing an ascending
harmonic minor scale. Repeat using different pitches.
D. Choose any pitch on the piano at random and tonicize that pitch by singing a
descending harmonic minor scale. Repeat using different pitches.
E. Choose any pitch on the piano at random and tonicize that pitch by singing an
ascending natural minor scale. Repeat using different pitches.
F. Choose any pitch on the piano and tonicize that pitch by singing a descending
natural minor scale. Repeat using different pitches.
Exercise 2
A. Choose any pitch on the piano. Assign it the function of scale degree 1 of a
major key. Establish the tonality by singing a descending scale followed by an
ascending scale. Then take the same pitch and assign it the function of scale
degree 2 of a major key, sing down to scale degree 1, and then up the scale one
octave. Then assign the same pitch the function of scale degree 3 of a major
217
key, and carry out the same steps. Continue the process until you have
reinterpreted the pitch as each of the seven scale degrees. You will have
tonicized seven different keys.
B. Follow the instructions for exercise 2A, but instead of descending first from the
chosen pitch, ascend from the pitch until reaching the tonic, then descend one
octave.
C. Perform exercises 2A and 2B using the harmonic minor scale.
D. Perform exercises 2A and 2B using the natural minor scale.
Exercise 3
On the piano, give yourself only the designated pitch, then sing up and down the
designated scale. Confirm the tonic on the piano when you reach the bottom of
the scale.
PITCH SCALE
A-flat B Major
D F Minor
F-sharp B-flat Major
C C-sharp Minor
F A Major
A E-flat Minor
D-flat G Major
G A-flat Major
G E Major
C-sharp F-sharp Minor
C-sharp E Minor
F-sharp C Major
B F Minor
D-sharp D Major
G-flat F Minor
E A-flat Major
C D-sharp Minor
G C-sharp Major
B F Minor
218
E-flat A Major
E F-sharp Minor
B-flat C Major
A F Minor
B-flat E Major
Exercise 4
In conducting class or when working with your choir, have the accompanist
provide only the tonic pitch of the piece on which you are working. Give starting pitches
and make corrections vocally. This will challenge your aural abilities as well as those of
your singers. It will also expose the degree to which you rely on the piano.
Exercise 5
In conducting class or when working with your choir, try rehearsing with no piano,
using only a tuning fork that will give you an A. You give starting pitches and make
corrections vocally.
219
MODULE 7, SECTION A
Introduction to the Aural Challenges of Twentieth-Century Music
Music of the twentieth century presents new aural challenges to the conductor.
These challenges will be revealed as you work through this section of the workbook. Full
development of the skills necessary to achieve aural control over music that is atonal in
nature will require a slow, methodical approach. Many conductors will find it necessary
to work with single vocal lines for an extended period of time before attempting any
multi-part singing.
Practice in the singing of individual lines of atonal music can be obtained by
working through Modus Novus: Studies in Reading Atonal Melodies, by Lars Edlund.
The melodies, many of them drawn from the instrumental and vocal repertoire, are
presented systematically based on their interval content.
The exercises in Module 7 can be used in numerous ways, depending on the
conductor’s fluency and experience with this type of music. Although conductors with
accomplished aural skills will be able to sing chords vertically, those who find this aspect
of the process to be difficult can benefit greatly from working with individual voice parts
or pairs of voice parts.
The steps listed below are the same as those listed in Module 5 and Module 6. A
reference pitch is recommended for each exercise. The use of a reference pitch is
valuable even when the music is not in a tonal framework.
220
Step 2: There are six possible pairs of voices in a four-voice texture.

Work with each pair of voices as described below.
bottom.
Step 3: There are four possible groups of three voices in a four-voice

texture. Work with each group of three voices as described
below.
the bottom.
to the bottom.
Step 6 : Test your aural control over the music by singing the exercise,
switching voice parts at each barline (while conducting). Practice
221
Exercise 1
Reference pitch: E
Un Cygne, from Six Chansons (mm. l-l I) Paul Hindemith
Soprano
Mr
Un cy gne
r r
a - van -
p-
ce sur I’eau tout en - tou - rd
Alto
— * — — * ----------
Un cy - gne a - van - ce sur l’eau en - tou - re
Tenor 'J
Un cy gne a - van - ce sur I’eau en - tou - rg
Bass *
Un cy gne a - van - ce sur 1'eau en - tou - re
r - j ji p' r r r cJri f-
de lui - me - me com - me un glis - sant ta - bleau:
de
¥ ¥
lui - me - me com - me un glis - sant
frita -
1bleau;
»
de lui - me - me com - me un glis - sant ta -

»J| J| r
bleau; ain - si
p1 M
co
g
de lui - me - me com - me un glis - sant ta - bleau;
222
ain cer tains in - stants un tre que 1'on
ain cer tains in - stants un
T r I n
tarns in stants,— cer tains m stants, un
ain si a cer tains in-stants, un e tre que I'on
me est tout un e - spa ce mou vant
ai me est tout un e - spa ce mou vant.
me est tout un e - spa ce mou
ai me est tout un e - spa ce mou
223
Exercise 2
Reference pitch: F
The Last Invocation, from Carols o f Death (mm. 1-13) William Schuman
Soprano
At_ the last,. at the last..
Alto
At_ the last.. at the last,.
Tenor
At_ the last.- at the last.-
Bass
At---------- the last.----------------- at___ the last,
ten der
ten der
mm mm. ten der
mm mm______________ ten - - - der - ly.
224
From the walls- of the pow - er-fill for - tress'd house..

3______________________ 3_________________________ I
From the walls- of the pow er-ful for - tress'd house,.

3 j
IP
From the walls- of the pow - er-ful for - tress'd house,_
J 3 - t
From the walls of the pow - er-fill for - tress’d house,-
from the keep

m
of the
From the clasp— of the knit - ted locks.
From the clasp—T of the knit - ted locks,. from the keep of the
—
Ft * ¥
From the clasp of the knit - ted locks. from the keep of the
From the clasp of the knit - ted locks. from the keep of the
well - closed doors. Let me be waft - ed.
—o— £
closed
© 1959, Merion Music, Inc. Used By Permission.
225
Exercise 3
Reference pitch: G
Kyrie (mm. I-14) J. David Jackson
Tenor t
Tenor 2
son
Baritone
Bass
n e e le t son
Tt
son
T2
Ky-ri-e
Bt
son
B2
Ky n e. Ky n e. e
226
rn -------------------------- ra —r— ----------

¥ — — J eh
\jfc x r V H |i r f r Lrp---------- 1 y [■ =|
r r7 r snn
!>o
k m r p =i f — r— rrr-----w— !■------ — — i
f 1 I
Ky - ri <*
™
r If . î i------
m V » a
t ). r — r—
IL— ti------------- 1— i — r -*— S - J -
^ * d ^- i --------
le - i - son, Ky-ri-e e - le-i-son, e - le - i son
Used with permission of the composer, J. David Jackson.
Exercise 4
Am Scheideweg by Arnold Schonberg is a canon that utilizes a twelve-tone row.
The row is presented in a linear manner in each voice part. The order of the pitches is as
follows:
C-E-G-C#-A-B-F-D#-D-F#-G#-A#
The basic melody of the piece is made up of two statements of the row. The first
statement is in the order shown above. The second statement is in retrograde. The coda
(mm. 16-18) is made up of one additional statement of the row in each voice part.
Although steps 3 and 4 will not be practical for this exercise, the steps that involve
playing and singing, part switching, imagining the music, and singing entrances will be
very beneficial.
227
Reference pitch: C
Am Scheideweg Arnold Schonberg
Soprano 0 - ,.- . M a h h h . N -N K 1
m - - - B* I j j i i i - J '
I T ' P ^ ............. 8 ^
To - nal o - d e r a - to - nal? Nun sagt ein mal in wel-chem Stall in die-sem
A lto
U J I j l J ------------------- ^ ^ ‘■ p i,i
To - nal o - der a-to -
Tenor
Bass
Fall die grOB - re Zahl, daB man sich hal
nal? Nun sagt ein - mal in w el-chem Stall in d ie-sem Fall re
nal Nun sagt e tn -
To
228
ten, hal - ten kann am si - chem Wall. To
Zahl. daB man sich hal
mal in wel - chem Stall in die - sem Fall die grOB - re
nal o - der a-to - nal? Nun sagt
nal o - der a-to nal? Nun sagt ein
¥
ten. hal - ten kann am si - chem Wall. To
man sich hal
mal in wel - chem Stall in die - sem Fall die grOB - re
229
mal in wel - chem Stall in die - sem re
nal der nal? Nun sagt ein
ten. hal si - chem Wall. To
Zahl, daS man sich hal
" IP "
Zahl, dafi man sich hal - - man sich hal

,___ IF
mal in wel-chem Stall in die-sem Fall die grOB - re Fall die grOB - re
Nun sagt em - nal? Nun sagt ein
ten. hal - ten kann am si-chem Wall. To - Wall
230
16
y p - j ji } -
Nur kein Scha - de! Nur kein Scha - de!
A
1 ^ -----------1
p H * ^ 1' n i ----------- 1
' J ' "J fi' f?
Zahl. Nur kein Scha - de! Nur kein Scha - de!
T Lm? IN-----2-----
ri ■, t " = 1 -rr-f^— t i -------h— 1^ ----- =---------------------------
*-------------------------------------- ■ ¥ ---- ------- tpP ---- L ------------------- r :— :--------
mal Nur kein Scha - de!
B ft }■ » K K
Nur kein Scha - de! Nur kein
S ^ J , bir h lff= l
^ qp ~ V - ^
^ 11 ^
Nur kein scha - de! Nur kein Scha - de!
A & h j , ----- J \ , 1 l l . = :
L i ------------- J — --------- J L ------------
Nur kein Scha - de! Nur kein Scha - de!
T i lh--¥*---------
-G - i
?----- 6---- {iJ--- IM-----*-----------
^ } J "■ ■“ ■■
Nur kein Scha - de! Nur kein scha - - - - de!
B .. [,_ >— m ' -5|*

U— — ---------------P------------------ p— P— n i 1 t J 1— *-------------------------------------------11
Scha - de: Nur kein Scha - de!
Used by permission of Belmont Music Publishers.
231
MODULE 7, SECTION B
Error Detection in Twentieth-Century Music: Student Section
The Student Section is comprised of musical excerpts containing no errors. The
Teacher Section contains the same excerpts with circled errors scattered throughout.
These exercises may be performed in different ways as described at the beginning of
Module 1, Section B. If you want to get to know the excerpts before performing the
error-detection exercises, use the techniques applied to the exercises in Module 7,
Section A.
Exercise 1
Reference pitch: C
The Ambitious Ant, from Nuts Andy Vores
Soprano
The am - bi - tious ant. tia - v el-lin g go.
Alto
The am - bi - tious ant. tra - v el-lin g go.
Tenor
m
The am - bi - tious ant would----- a tra - vel-ling, the am - bi-tio u s
■(» ft— <■--- — ----- -----ft

Bass £ = £
The am - bi - tious ant would___ a - tra - vel-ling. the am - bi-tio u s
232
m
To see the py - ra-mid's won - der - fill show. He-
¥
To see the py - ra-mid's won - der - fill show. He-
£
m m
ant. To see the py - ra-mid's won - der - fill The am - bi - tious
-1Hf- =£=
B2
ant. To see the py - ra-mid's won - der - fill The am - bi - tious
crossed brook and a field— of rye, And came to the
crossed brook field of rye, And came to the
He crossed brook— and field. And_ came to the
B2
ant. He crossed a brook— and a field. And— came to the
foot of a hay - stack high-
foot of a hay - stack high- won - der - fill.
B2 £
foot of a hay - stack high------ "ah_ won - der - fill.
233
won - der - fill, py - ra - mid' then cried he;. low
won der-ful, py - ra - mid’ then cried he;. low
won der-ful py - ra - mid' then cried he;. How
B2
won - der - fill py - ra - mid" then cried he;. "How
am, how. crossed the sea!'
am how. crossed the sea!'
BZ
Used with permission of the composer, Andy Vores.
234
Exercise 2
Reference pitch: F
To All, To Each, from Carols o f Death (mm. 1-9)) William Schuman
Soprano
Come
Alto
Come come
Tenor
Come, come
Bass
Come,. come.
4
f — y / ------ F - > - Ir r . . — F P Z ^ J T ] ^ , -S I
f 8 1 M r r
love - - ly and sooth -
love - - ly
b h . l L. u ~
• f * " r
love - - ly
f a b * ’!-- = d
love -- ..............................................ly
235
s
. J --L.ljo -—
ing death,.
sooth - - - - - - - - i ng J~~3
death,. I ~ J
T
sooth ing death,.

B
sooth - ing death,.

© 1959, Merion Music, Inc. Used By Permission.
Exercise 3
Reference pitch: B-flat
o by the by, from Magnificent Honesty o f Space James Carlson (text by e. e. cummings)
Soprano
r : ............. - iLr O f Jl Jy = j
o by the
Alto |I«| i* mJS w]\ J'h
J J J ''f ■■ Pr
o by the hv an - y • f w i . y
Tenor ^ If. Iff m :--- '■—r -

o by the by----------------------
V
Bass
J ~:ir. -.................f ..............- i f
o by--------
. . . rth.e.. . . — l j 4
236
seen. you—
A
seen you.
T
you who stood
B
lit tie you t. who stood
who stood on. a green—

A
who stood stood on

T
on who stood on a green hill stood on
on a green hill. stood on
hill who stood___ on green hill. and
green hill who stood on green

T
on green hill
on green hill
237
threw— his wish at blue and threw his. wish at blue and
A
his wish blue wish blue threw

T
wish blue and
threw
swoop and a
JL .
threw his wish at blue with a swoop and a dart.
his wish. at blue with a swoop and

— -v - — *
threw his wish at blue with a swoop. and-
& —---- \lM_
m
his wish at blue with a swoop.
dart
out. out flew his wish. his wish and it dived like a fish
A
dart a swoop and dart his wish and it dived like a fish.
T
dart a swoop dart swoop. dived and it
a dart his wish it dived
238
s
and it climbed like a dream.
A
fish. and. dream

T
dived like a fish.
a fish lik e a
and— it climbed like dreamlike dream climbed like— a dream

A
like a dream like a dream like lik e - - - dream

T
dream and it climbed like dream
dream it climbed like a dream like a dream
Used by permission of Alembick Music and the composer, James R. Carlson.
239
MODULE 7, SECTION C
Error Detection in Twentieth-Century Music: Teacher Section
vocal parts. The correct pitch is indicated just outside of each circle. The errors are also
included in the piano reductions, but there they are not circled.
Exercise
The Ambitious Ant. from N u ts Andy Vores
Soprano
m f
The am - bi - tious ant. Ha - vel-Iing go.
Alto
The am - bi - tious ant,

■ istra - vel-ling
¥
go.
D
Tenor
m
m r r i j
The am - bi - tious ant would__ a tra - vel-Iing, the am - bi-tious
E>__
^0 I>j
Bass
j~r r nlT y i yr m
The am-bi-tious ant would__ a - tra - vel-ling, the am - bi-tious
R eduction <
te i.. ft r
:2 = £ = #
240
To see the won der - ful show. He.
To see the py - ra-mid’s won der - ful show. He.
ant. To see the py - ra-mid's won der - ful The am - bi - tious

.As.
B
ant. To see the py - ra-mid’s won ler - fill The am - bi - tious
crossed brook field— of rye, And came to the
crossed brook and a field of rye. And came to the
ant. He crossed brook and a field. And_ came to the
ant. He crossed brook— and a field. And_ came to the
241
4-1 f©irfoot of a hay stack high..

ct
foot of a hay - stack high- won - der - ful.
£
foot of a hay - stack high- "ah_ won - der - ful.
12
A ___nJp
- a .
|-s F tip f -|
[F rH — r — *l
^ ....... v i/- *
wc n - der - fi111. py - ra - mid" then cried he; "How
= £ = il = h = E F h JS J ------- = q
a av* * 1 J
won - der-f il. py - ra - mid" then cried he; "How
E J 2 ---------E
# - r - f i itfr ftp— r - ^ i)—
---------- —
^ = C — L I ^ - T - .... IN J
won - der-ful PY - ra - mid" then cried he; "How
E =, H « r »r | ------------ f
1= ^ ^ = ■ E D E
wc n - der - ful py - ra - mid" then cried he; "How
17
— J ^ ■1 11J 1
f= * = l
' PT • V
j
,■ “ 4 r = t * - 7rfS=----------
I »r
242
am. how. crossed the sea!'
how. crossed the
am. how. crossed the
am, how. crossed the
Exercise 2
To All, To Each, from C arols o f D ea th (mm. 1-9)) William Schuman
Soprano
Come, come, come,
Alto
Come, come, come.
Tenor
Come, come, come*
Bass
Come, come,
Reduction
243
love and sooth
love Ab
love
love
<
Eb
tng death,
mg death,
sooth mg
sooth mg death.
<
244
Exercise 3
o by the by, from M a g n ific e n t H o n e sty o f S p a ce James Carlson (text by e. e. cummings)
Soprano
has an - y - bod - y
Alto
an - y - bod - y
Tenor
by th<
Bass
the.
Reduction <
seen you__
A
seen you.
T
you who stood
you who stood
245
who stood on. a green__

A
stood on.
T
on. who stood on a green— hill stood oa
on. green. hill. stood. on
10 D
m t, ~ f i ^ = F ? = r = f = r+p—
r =—
'I L > r r r U - -r t
hill who stood---- on a green hill and
4? J- J D J- J -1 — 4= — ■— =s4—^—
green hill who stood on a green-------- hill
4 — - = “1— 1■
LJ- U
Y - — 1^ .....E—
on
C=N
a---- green hill
n — J-— ^
L * ----- r ------ :--------------- 1
W ~ r - --------------
on a green nill
f o - i r - J 1 J J J d = l r t J -------f v “ |r~*i j j
^ f ' t i r r - r V f*----------- - L T ~ “ f*---------f —
J. j j h ------ 'a^ L- ko
'
246
s m
threw— his wish at blue and threw— his. wish at blue and
A
blue wish blue threw

T
wish blue and
threw
swoop and a
threw— his wish swoop and a dart.

A
his wish. swoop and

T
threw his wish swoop___ and.
his wish swoop.
247
dart
m J • »r p n r - B *F Hi y
¥
- *
out. out flew his wish. his wish and it dived like a fish__
Dtt
=fm
dart a swoop— and dart his wish and it dived like a fish. FS
iiJ
dart
P J
a swoop
J 1 im J
a dart
f-r a swoop-
r it dived--------
m
and it
a
a swoop a dart his wish- it dived------ like
21
# r^ r &
= tL H
fi tff j.-— -j____ it i r
r Pr p
Bk in Alto I
and it climbed like a dream.
A
fish. and dream.

T
dived like a fish
fish like a
248
and— it climbed like dream like dream climbed a dream

A
like a dream. like a dream like like---- dream

T
like dream climbed q dream
dream climbed like dream like a dream
249
CHAPTER IV
REPORT ON THE TRIAL OF THE WORKBOOK
While developing my workbook I have worked through most of the exercises with
conducting students from the School of Music at the University of North Carolina at
Greensboro. This process has enabled me to gain insight into what works and what does
not, to assess the difficulty and feasibility of each exercise, and to receive feedback
regarding both content and form of presentation.
I began by sending a letter to all graduate students in choral conducting and to ten
undergraduate music education majors asking if they would be willing to participate in
the project. I got three positive responses, all from graduate students in choral
conducting. I met individually with each of these three students once a week for thirty
minutes over a nine-week period. In addition they were asked to engage in several
practice sessions between each of our meetings. The three students represented a wide
range of conducting experience and aural ability. This was beneficial because it allowed
me to work at a different pace and on different exercises with each student. The most
advanced student worked through the majority of the workbook, while another student
spent most of the time working with two-voice exercises. All of the modules were
addressed by at least one of the students, except for Module 7.
Although the trial period was relatively short and systematic testing was not
employed, improvement could be readily observed on the part of all three students. Since
250
none of them had engaged in multi-part singing before participating in this project, they
all found the work in this area particularly challenging. Some were skeptical at first
about whether such singing was even possible, but after becoming accustomed to the
procedures all of them were able to work constructively with at least two voice parts
simultaneously.
At first it was difficult for the students to concentrate on hearing the connections
between the notes of each individual voice part when trying to sing more than one part at
a time. It was gratifying, however, to see all the students becoming more fluent as they
began to hear these connections rather than the note-to-note connections of the compound
melody that is formed by singing more than one part.
The students particularly enjoyed the challenges of the error-detection exercises. I
found it surprising that most preferred to engage in these exercises without becoming
acquainted with the music first. For this reason, in addition to the fact that the trial period
was fairly short, it was difficult to observe whether or not they were gaining proficiency
in error-detection skill. I did notice that when trying to pinpoint errors the students were
employing the techniques of multi-part singing that they had learned in the workbook.
This convinced me that the processes I was employing were aiding them in detecting
errors. In order to gain a clearer insight into the effects of my methodology, I will insist
in the future that students apply the techniques of multi-part singing to the music in
advance of actually engaging in the error detection.
Many of the observations made by the students in the process of working on the
exercises were beneficial to me and resulted in changes in the workbook. Module 1
251
originally contained more two-voice counterpoint exercises in which the two voice parts
crossed in the course of the exercise. The students pointed out that this happens only
rarely in choral music, and that presenting such exercises at an early stage merely
complicated the task of multi-part singing. I think that they were correct, and I replaced
several of the exercises in question.
Some of the error-detection exercises proved to contain too many errors or errors
that were too close together. I also found it necessary to change one fundamental aspect
of the error-detection exercises in the teacher section of each module. Originally I had
indicated the errors in the teacher sections with circles or arrows but had not indicated
what the correct pitch was. This did not provide the teacher with a way of assessing the
student’s responses to the errors without flipping back to the corresponding exercise in
the student section to view the correct version of the music. I solved this problem by
indicating the correct pitch by letter name next to each circle or arrow.
The students found the exercises in octave displacement to be more challenging
than I had expected. This convinced me of the value of these exercises, especially since I
also observed that the conductors found it difficult to switch octaves when necessary
during the multi-part singing exercises.
It was difficult to convince the students to practice the exercises in the singing of
intervals and chords found at the end of each module. Although I am still convinced of
the value of these exercises, it became clear that conductors are more eager to engage in
exercises that use actual pieces of music. The two conductors who did touch on the
interval exercises found it surprisingly difficult to place the intervals into the tonal
252
context by identifying the scale-degree numbers. I also noticed that when these same
conductors were sight singing, they were not using the concept of scale-degree function
to locate individual pitches in places where this would clearly have been beneficial.
When the music employs large skips or awkward intervals, a scale-degree approach will
lead to increased success when used in combination with an intervallic approach. My
experiences in this area convinced me of the value of the “movable do” system of ear
training, since it forces musicians to identify the function of every pitch within the tonal
framework. I found that it can be difficult to convince conductors to think about scale-
degree function if they have employed a purely intervallic approach to sight singing for
many years.
While working through the workbook with the students a number of questions
arose regarding my methodology. One student felt that multi-part singing was not
something that the conductor needed to be able to do and that such exercises were not
particularly effective. I found this surprising, especially since the conductor in question
worked hard on multi-part singing and showed marked improvement in this area during
the trial period. I suspect that the challenges presented by the process masked the
conductor’s view of the improvement that was taking place. This improvement
demonstrated to me an increase in the conductor’s aural control of the score.
A question arose regarding the use of prescribed syllables when engaging in multi
part singing. For the species counterpoint exercises in Module 1,1 recommend the use of
the syllable “bah” for the lower voice, and “boo” for the upper voice. In Module 3 ,1
suggest also incorporating the syllable “beh” when singing three-voice exercises without
253
the text. All of the students disliked using these prescribed syllables and found it easier
to sing one syllable for all voices. I allowed them to do this but I did not change my
recommendation in the workbook. I am convinced that the students gave up on this too
easily, before they had given themselves a chance to develop the habit of singing with the
prescribed syllables. I feel sure that it is easier to hear the connections between the
pitches of each individual voice part when using different syllables, particularly when
working with two voice parts. In my own work with the exercises I am keenly aware that
my pitch memory improves when I differentiate the voice parts by using different
syllables.
Another issue that came up was whether or not one can hear the connections
between pitches of individual voice parts when singing chords in a three or four-voice
texture. I noticed that for each conductor there was a point at which it was no longer
possible to hear these connections. The point when this would occur was determined by
the number of voice parts present in combination with the degree of complexity of the
musical example. At the point where the perception of the connections between
individual lines became lost, the exercise turned into a purely vertical chord singing
exercise. Most found that this occurred when singing some three-voice examples, and
that with a four-voice texture it was almost impossible to perceive the horizontal
connections between pitches.
With practice, however, we all found that we could maintain a sense of the
connections between the notes of the outer voices of a four-voice texture, particularly if
either the soprano or bass was performed at a higher dynamic level. I was pleased that
254
one conductor found it beneficial to hum the bass notes, sing the inner voices mezzo
forte, and the soprano voice fortissimo. It became clear that practicing one phrase
repeatedly enabled all of us to improve our hearing of the connections between the notes
of the individual vocal lines.
At the end of the trial period I gave each student a questionnaire that posed
questions regarding the effectiveness of each aspect of the workbook. Many of their
responses have been incorporated into this report. All of the conductors responded
positively to the overall content of the workbook and felt it would be very helpful to
budding conductors. I was particularly pleased that they all responded favorably
regarding the effectiveness of imagining the music as part of the ear-training process.
Developing the conductor’s ability to establish the mental-aural image is one of the
fundamental goals of my approach to ear training for the choral conductor.
I appreciate the time and energy that the three conducting students devoted to this
project. Their comments were extremely perceptive and helpful. Having the opportunity
to observe their work with the ear-training exercises proved to be a very valuable
experience.
255
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256
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A Study of The Choral Conductor's Ear - Training Process, and The Development of An Ear - Training Workbook For Choral Conductors

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INFORMATION TO U SER S

The quality of this reproduction is dependent upon the quality of the

Oversize materials (e.g., maps, drawings, charts) are reproduced by

Photographs included in the original manuscript have been reproduced

ProQuest Information and Learning

This reproduction is the best copy available.

AND THE DEVELOPMENT OF AN EAR-TRAINING

WORKBOOK FOR CHORAL CONDUCTORS

All rights reserved.

Bell & Howell Information and Learning Company

The research, presented in Chapter H, included an examination of how conducting and

Chapter in is the presentation of a workbook for choral conductors, designed to

musical material of increasing complexity.

University of North Carolina at Greensboro.

This dissertation has been approved by the following committee of the

Faculty of The Graduate School at The University of North Carolina at Greensboro.

I extend my heartfelt thanks to my dissertation advisor, Dr. Richard G. Cox, and to

the members of my dissertation committee, Dr. William P. Carroll, Dr. Eleanor F.

concerning copyright permissions.

sisters who have nurtured me from the beginning.

I. PURPOSE AND DESCRIPTION OF THE PROJECT................................... 1

Aural Skill Development as Addressed in Conducting Textbooks 10

m . AN EAR-TRAINING WORKBOOK FOR CHORAL CONDUCTORS 35

IV. REPORT ON THE TRIAL OF THE WORKBOOK............................... 249

PURPOSE AND DESCRIPTION OF THE PROJECT

ear-training processes. The results of my research are presented in Chapter II.

My workbook is presented in Chapter HI. Its purpose is to guide the conductor or

student through a step-by-step process designed to result in improved aural acuity. It is

not intended to be an alternative to standard undergraduate ear-training curricula. The

addresses the specific needs of the choral conductor.

There is a fable of a young conductor who wished to impress himself on his

ear will find it difficult to advance to a high level.

of comprehensive musicianship, conducting pedagogy has had a tendency to focus on the

conductor’s aural skills.

Many authors and well-known conductors have commented on the importance of

Archibald Davison asserts:

Without a scientifically trained ear, the choral conductor is at a permanent and

Along similar lines, Gunther Schuller states:

Choral Conducting: Focus on Communication. About the conductor, he observes:

3 Archibald Davison, Choral Conducting (Cambridge, Massachusetts: Harvard University Press,

These statements support my conviction that well-developed aural skills are

development of a systematic workbook to foster the improvement of the choral

conductor’s aural abilities.

The Focus of the Workbook

awareness, linear sight singing, multi-part hearing, vertical/aural discrimination, error

detection, harmonic identification, and an aural sensitivity to intonation, balance, timbre,

thoroughly address all of these areas. My workbook focuses specifically on the

development of multi-part hearing, vertical aural discrimination, the formation of the

to improve this skill include the following:

• Singing one voice part while playing another.

• Singing one voice part while playing two others.

• Singing one voice part while playing three others.

to the end of the piece.

parts of a chord. This is related to multi-part hearing; however, multi-part hearing

parts of a single sound event. Exercises in my workbook include the following:

• Identifying intervals and placing them in a tonal context.

• Analyzing the harmonic structure of chords.

hearing a performance or recording of the work. The process of forming a mental-aural

some combination of these. My workbook will focus on developing the mental-aural

achieve a thorough mental-aural image by applying systematic score-study techniques to

choral scores and excerpts.

Wilhelm Furtwangler said:

Generally considered, there is no such thing among conductors as a good or bad