Teachers Musical Dictation Manual

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MUSIC LIBRARY
JNIVERSITY OF CONNECTICUT
STORRS, CONNECTICUT
TEACHERS
DICTATION
MANUAL
TEACHERS
DICTATION
MANUAL
hy
Allen Irvine McHose
EASTMAN
SCHOOL OF MUSIC
SERIES
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MUSIC U8RARY
NIVERSITY OF CONNECTICUT
STORRS. CONNECTICUT -
1948
F. S. CROFTS & CO.
NEW YORK
\
COPYRIGHT 1948 BY F. S. CROFTS & CO., INC.
No part of the material covered by this copy-
right may be reproduced in any form without
permission in writing from the publisher.
MANUFACTURED IN THE UNITED STATES OF AMERICA

PREFACE
This Manual is designed to provide suitable dictation exercises for the first two years of
theory. It is divided into four parts, and each part is a complete unit. Part I contains rhythmic
dictation; Part II contains melodic dictation; Part III contains harmonic dictation; Part IV is
devoted to two-voice and three-voice harmonic counterpoint. The respective parts are divided
into sections which begin with a brief commentary on the presentation of the material.
The texts which are the Manual are Basic Prin-
basis for correlating the material of this
ciples of the Technique of 18th and 19th Century Composition, Contrapuntal Harmonic Tech-
nique of the 18th Century, Keyboard Dictation Manual, and Sight-Singing Manual, all in the
"Eastman School of Music Series."
CONTENTS
PART I
RHYTHMIC DICTATION
PAGE
PAGE
PAGE
Section I Rhythmic Dictation 3
Elementary Problems in Meter and Rhythm 5
II Unequal Time Durations in Compound Meter

III Unequal Time Durations in Simple Meter 9
IV Further Study of the Tie 11
V Syncopation 12
VI Superimposed Backgrounds and Superimposed Meter 15
VII Subdivision in Simple and Compound Meters 16
PART II
MELODIC DICTATION
Section 1 Melodic Dictation 21
Dictation Procedure 22
Tonic Chord 23
Tonic and Dominant .
24
Period Dictation 25
Subdominant and Supertonic 25
Dominant Seventh Chord 27
II Modulation to the Dominant: Major Key to Its Dominant Major ... 29
Minor Key to Its Dominant Minor 30
Modulation to the Subdominant Major 31
Modulation to the Subdominant Minor 32
Modulation to the Mediant 32
Modulation to the Supertonic 34
Modulation to the Submediant and Subtonic 35
III Mixolydian Mode 37
Lydian Mode 37
Aeolian Mode 38
Dorian Mode 39
Phrygian Mode 40
IV Pentatone Melodies 41
V Foreign Modulation 43
VII
PART III
HARMONIC DICTATION
Section I Triads and Modulation to Closely Related Keys 47
Triads of the First Classification 49
Triads of the Second Classification 53
Period Exercises 58
The Elision and Retrogression of the First and Second Classification . . 60
Soprano on Staff and Roman Numerals 62
Roman Numerals, Soprano, and Figured Bass on the Staff 63
The Triad of the Third Classification 66
Dictation Exercises 69
Elision and Retrogression 70
Period Exercises 73
The Triad of the Fourth Classification 74
Elision and Retrogression 76
Period Exercises 79
Modulation to Closely Related Keys . 80
Modulation Within the Phrase 83
Modulation to the Dominant: Major 85
Modulation to the Subdominant: Major 86
Modulation to the Supertonic: Major 87
Modulation to the Submediant: Major 88
Modulation to the Mediant: Major 89
Modulation to the Dominant: Minor 90
Modulation to the Subdominant: Minor 91
Modulation to the Mediant: Minor 92
Modulation to the Subtonic: Minor 93
Modulation to the Submediant: Minor 94
Period Exercises 95
II Nonharmonic Tones and Triads 96
Passing Tones 97
Suspensions 101
Resolution of the Single Suspension in Connection with Change of Bass
Tone 104
Neighboring Tone, Anticipation, and Escape Tone 105
All Nonharmonic Tones 108
III Seventh Chords HO
First Classification HI
Second Classification 115
Third Classification 119
Fourth Classification 121
Triads and Seventh Chords: Modulation 123

Period Exercises 123
VIII
IV Altered Chords and Altered Nonharmonic Tones 127
Altered Chords in Minor 129
T 7
Minor II, II , IV, IV
n n n n
46 46 46 46
II 131
b
2
Altered Chords in Major: First Classification 131
VIP 132
b
6
Altered Chords in Major: Second Classification 132
II and IF 133
* *
4 4
7
IV and IV 134
* «
4 4
7 7
IV and IV 135
b bl
3 34
T
II, II , and IV 136
b b b
6 6 6
Altered Chords in Major: Third Classification 136
7
VI, VI , and VI 137
* % bb
1 1 36
I
7
, I
7
, and I .... 1 38
b tfb «
7 17 1
Altered Chords in Major: Fourth Classification 139

III, III
7
, and V 7
t % t
5 5 5
V Vertical Sonorities Containing the Interval of the Diminished Third or

Augmented Sixth 144
Vertical Sonorities Containing the Diminished Third or Augmented
Sixth in a Minor Key 146
IV
t
4
IX
ir i48
t
4
v
IV7 150
*
4
Minor Key: First Classification 152
VII, V, and Vir
b* b* bft
27 27 27
Augmented Sixth Chords in Major 154
Second Classification
7
IV, IT, and IV
*b *b b*b
46 46 346
Major Key: First Classification 156
VII, V 7
, VII
7
b b b
2 2 2
Major Key: Chords Containing the Raised Two 158

V 7
and H 1
* *
2 2
VI Modulation to Foreign Keys 161
Recitative Dictation 163
Dictation of Instrumental Compositions .
167
PART IV
HARMONIC COUNTERPOINT
Section I Two- Voice Dictation 171
Strict Imitation: Real Answer 1*77
Free Imitation: Tonal Answer 177

II Three- Voice Dictation 180
Imitation 182
TEACHERS
DICTATION
MANUAL
PART I
RHYTHMIC DICTATION
.
RHYTHMIC DICTATION
Section I
Rhythmic Dictation
Rhythmic dictation precedes melodic and harmonic dictation. Only

after the student has thoroughly mastered a particular rhythmic problem
through rhythmic reading should dictation be presented. The rhythmic
dictation exercises are organized into seven sections. Each section of
rhythmic dictation in this book is correlated with a similar section of
the Sight-Singing Manual by McHose-Tibbs
As is the case in the Sight-Singing Manual the rhythmic dictation
,
exercises have been selected from actual music. They may be phrases of
folk songs and spirituals, fugue subjects, or parts of themes from the
works of the masters. In each section the exercises are graded accord-
ing to difficulty.
Since rhythmic dictation is the first presentation of an extended
melodic line, one might pause to consider from a pedagogical standpoint
some factors which lead to successful results. One must realize that
the average student's memory is not accurate. To demand perfect atten-
tion while a dictation exercise is being performed is important but is
not the complete solution to the problem of memory. The author has tried
to select and group exercises according to rhythmic continuity. Instead
of varying the time values of each measure an attempt has been made to
have similar rhythmic problems appear at the same positions in consecu-
tive measures. This aids the time span of the memory. At the end of a
section the exercises become more complex, and more will be demanded of
the memory by having the exercises contain less repetition of rhythmic
patterns.
Again the author urges the instructor not to be too hasty in requir-
ing the student to place the notation on the staff. The student should
not be allowed to write the notation until he can sing back the exer-
cise on a neutral syllable. The author has found that in certain speci-
fic cases it was necessary to provide a tutor to work on this one prob-
lem. It was not a lack of talent; the difficulty was caused by an un-
veloped memory. Although rhythmic dictation is concerned only with
developing the recognition of meter and time values, the instructor
should realize that he is establishing the foundation for melodic and
harmonic dictation.
Instructions for giving rhythmic dictation.
Type A
Give the meter signature.
1) Play the exercise twice.

2) Using the conductor's beat the student sings the melody on a
neutral syllable.
3) Using the conductor's beat the student sings the melody using
the rhythmic syllables.
4) The student writes the bar lines and notation on a one-line
staff.
5) Play the exercise through once so that the student may check
his result.
—
teacher's dictation manual
Example.
Given: 2
2
1) Exercise played twice
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ii 23:
2) Sing the above on a neutral syllable with correct pitches

3) Sing on correct pitches the rhythmic syllables
one two one - - - one two-te one - - -
Student's solution.
— —
4)
* j i \-» i
«i j j i
5) Exercise played through once for student to check his solution.
When Type A is mastered begin Type B.
Type B
Give the note value which is to designate the beat.
1) Play the exercise twice.

2) Using the conductor's beat the student sings the melody on a
neutral syllable.
3) Using the conductor's beat the student sings the melody using
the rhythmic syllables.
4) The student writes the meter signature, bar lines, and notation
on a single-line staff.
Type C*
Give either the meter signature or the note value for the beat.
1) Play the exercise through three times.**

2) Student writes solution on a single-line staff.
Suggestions to the instructor:
1) Be sure to decide the tempo before playing an exercise.

2) Be sure to vary the meter signatures, meters, and the note value
assigned to the beat. It is not necessary to use the meter sig-
natures found in the dictation exercises in the following sec-
tions. For example, if the meter is three-four it can be solved
in three-eight or three- two.
* All tests should use Type C

** If an exercise is unusually long and difficult, play more often.
RHYTHMIC DICTATION 5
Elementary Problems In Meter and Rhythm
The exercises in this section follow rhythmic reading drills in the

Si ght-Singing Manual, Section I.
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RHYTHMIC DICTATION
Section II
Unequal Time Durations in Compound Meter
The exercises in this section follow rhythmic reading drills in

the Sight-Singing Manual, Section II.
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Unequal Time Durations in Simple Meter

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Further Study of the Tie

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Section VII
Subdivision in Simple and Compound Meter

Sight-Singing Manual, Section VII.
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PART II
MELODIC DICTATION
MELODIC DICTATION
Section I
Melodic Dictation
The organization of the melodic dictation exercises is based upon

the theory that a melody constantly implies a harmonic "background. The
melodies are selected from folk sources and from compositions found in
the period of music which deals with major and minor keys. The melodic
dictation must be carefully correlated with training in time and rhythm,
harmonic dictation, melodic analysis, and sight-singing. The melodic
dictation exercises found in this section should be covered in the first
year. In addition, they should be correlated with the first section of
harmonic dictation. There is one exception to this correlation. The
dominant seventh chord is constantly implied by melodic contour, and
even though the chord is not presented in harmonic dictation during the
first year the student has become acquainted with it through analysis
of melodies and in the theory of the melodic scales.
The melodic dictation exercises are arranged for presentation in

the following order:
1. Tonic chord only.

2. Tonic and the first classification dominant in major and minor
3. Second classification super tonic and subdominant.
4. First classification dominant seventh.
5. Modulation to the dominant.
a) Major key to its dominant major.
b) Minor key to its dominant minor.
6. Modulation to the subdominant.
a) Major key to its subdominant major key.
b) Minor key to its subdominant minor key.
7. Modulation to the mediant.
a) Minor key to its major mediant key (most frequent)
b) Major key to its minor mediant key (less frequent)
8. Modulation to the remaining closely related keys.
a) Major key to its super tonic minor key.
b) Major key to its submediant minor key.
c) Minor key to its submediant major key.
d) Minor key to its subtonic major key.
9. Modal melodies.
a) Mixolydian
b) Lydian
c) Aeolian
d) Dorian
e) Phrygian
10. Pentatone melodies
11. Foreign modulation.
General Remarks
Although it might be presupposed that the student s memory has been

1
developed through rhythmic dictation, the instructor i s urged to have

the student sing back the exercise in the daily melodi c dictation drills,
Melodic dictation is not a horizontal drill in abs tract intervals,
It should be constantly presented to the student from the standpoint of
revealing the melodies' complete musical structure To perfect the skill
.
in taking melodic dictation, it must be constantly cor related with

drills in rhythm, harmonic dictation, keyboard harmony melodic analy-
,
sis, and sight-singing. For example, the dictation of a melody which

through its contour implies subdominant harmony should not take place
21
until the following presentations are completed:

1) The theory of the second classification subdominant harmony.
2) Keyboard harmony of the subdominant.
3) Harmonic dictation including the subdominant.
4) Analysis of melodies which contain the implied subdominant har-
mony.
5) Sight-singing of melodies which contain the implied subdominant
harmony.
Dictation Procedure
From the very beginning of melodic dictation, the student should be

given the name of the first note. After hearing the exercise from the
given note, the key of the exercise is determined. Rhythmic training
will supply the meter signature. Melodies of more than one phrase should
be dictated as a whole for key and meter. The instructor should then
dictate the melody in phrase lengths until the entire melody is completed,
With this as a background the following procedure should be used as

a standard:
1) Give the name of the first note.

2) Play the melody at least twice.
Student determines the key and meter and prepares the staff.
3) Play exercise once.*
a) The student making the conductor's beat sings the melody on
a neutral syllable.
b) The student places the notation on the staff.
c) The student makes a complete harmonic analysis of the melody.
4) Play the exercise once more for the student to check his solution.
If the exercise has more than one phrase, give the student time to solve the first
phrase, then play the first phrase and progress into the second phrase which is
immediately repeated.
MELODIC DICTATION 23
To illustrate the manner in which the melodic dictation exercise is

solved and analyzed, the following example shows the melody which was
played by the instructor, and the solution of the melody and the anal-
ysis which was required of the student:
Exercise dictated
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Major Key
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Period Dictation
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Subdominant and Super tonic
Major Key
3Y 35
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roxK Song
otmg Wolfgang Mozarr
noirgang Mozart
r u— *
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uomenico scariatti
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jonanri S. Bach
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ft i
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3? 39
Johann S. Bach
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George F. Handel /\^J^ «^» t
J
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George
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r tifir s
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Domenico Scarlatti
^
Minor Key
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Folk Song
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W W. F. Bach
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57
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1
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Folk Song
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Dominant Seventh Chord
Major Key
ss Christmas Carol
Folk Song
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George F. Handel
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tâ
Folk Song
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Minor Key
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Folk Song
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Domenico Scarlatti
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l
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ft
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Section II
Modulation to the Dominant
Major Key to Its Dominant Major
6? 70 U
Johann
T <
S. Bach
Chorale
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Bach Johann Bach
at
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Bach
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jonann Albrechtsberger
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§
ppgî Jifljij. aj if
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Folk Song
Minor Key to Its Dominant Minor
7f
f+1
^ J ohann S. Bach
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SO
Johann
ohann S. Bach
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81 Johann P. Kirnberger %%
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Folk Song
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Modulation to the Subdominant

Major
§
*
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f
ij \
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f B g**^
ppil
Joseph Haydn
3?
|
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r
\ittif r\iriii\t'
\
Johann F. Agricola
yjf i r JitTfjir r iLrcjULr i Lf^S
Folk Song
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jrtM i r i
r n l Hj-inrif.Tt-fifff i[jf
^p y i'Tn> |r i fL fj TMMtg
i
KarlFr led rich Zelter
r m
nr i irjpi
Minor
93
/£ O
p § j i
j j nfl\r I
Chorale
? ^n j r g jjp r r
i
jj
r g|
^V
^fj!r3 Jj?îl^N> jj>lf^ l
Z 7
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l
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p r Mr H LUirî Mr r-ftripp f
Karl Friedrich Zelter
p # r#
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Modulation to the Mediant
A
9S
Folk Song ?6
George F. Hande
i, u p^ n^
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Johann S. Bach
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4
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r uiip^
p r^Lflfff t7iN j jTiwjpM

Folk Song /0/
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Folk Song
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r p ifjjju j i
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Folk Song /03
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Johann Bach ^
g
S.
P Bj *±*± l
^ T PrprlmT^#3l
irl Friedrlch Zelter
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y f
rr Hf«f r >f
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Karl Friedrlch Zelter
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i
j^
B
IOb
ft i^.TjjJ^Tr- * gUps * j..rj7J^"i
Folk Song
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fly- i
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i fpfiJid^j * pipi jj j
f r
j jj juii j >j g j
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for ft uJ'j j7jj i

j l
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10$
fotlf i
f
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frfiiCiJim ir i iuifrjiii^
Modulation to the Supertonic
Q. TrttttoT
Johann S. Bach
§ rj J tj |
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l
C -w^/frr Gr
l
f^
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r M s
HO
Giovanni Pergolesi
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T — —
4:
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f 1
1
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Carl H. Graun
j^J J
l
''LblJ,P iqn^J' r. ijT^wj
Fr ledrich Wilhelm Marpurg
a:Z T r GrlT IT T
Modulation to the Submediant and Sub tonic
p I f r-TT rTr^^ l J- < i i^l r r<

r I
rTrl
-Eajjc Song
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f j j. j. j*
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^
i
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85
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^"V or KatlJViedrich Zelter
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t'
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&£5
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Folk Song
p»^
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l
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Johann S. Bach
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11$
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Robert Franz
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p j i
f tj i finr TMr ^ i f u j Mr
Karl Frledrlch Zelter
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Section III
Mixolydian Mode
/ZO
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/2/
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IZZ
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Folk Song /23
r r
m fcdbd
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ye fan j i^^
{? j ^ ^ j
j u^r^j^ji- flf^Jl
Folk Song
j,v?f ^ i
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ynTT^n
Lydian Mode
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38 TEACHER* S DICTATION MANUAL
> Folk Song
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i r f t i
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Aeolian Mode
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oik Song
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Folk 8ong ^
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Folk Song/53
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Folk Song /W
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ar j
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oik Song
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Folk Song
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Folk Song /3Z
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Folk Song
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f J lr LU'T' re
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f ^
te rTlTTTT ^^ r r fir r r r
Folk Song
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Section IV
Pentatone Melodies
m
AU
r^.-rsTT
ôlk Song
*-*
/^3
r,Û ji I jj J-i ii g
jfjj nij 4V i jn j
it utt"j 'ir î
r F' r
Mtj J LJLT I
lLt
J
EJTrXr
J
Tj I
j
^—
folk
4
Song
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fa>* my Wmgm \w^ rj 1

3 ^
Folk Song
j^Cf t j iLJlLrfl j n irfHj rJ ^^

/#T
rf ij! r^j
i 1
^ rjj imj ixt iqtf r
tj
Folk Song
tfr|jiUjittf U]imLLnf.rl^
m>
* t'-
Jjj W l
tf tJ flj U.|flft [ Jl J g^
Folk Song
frejQjjJ i
L4j^jHnJ'D![J i fl.^j.i
r
m
P jiTn n i t_r
fl |
cj 1 l
[jtf
J^l
y r r J I t a r f I 'm rlfTr- jKTn^ l t^
Franz Schubert
yc/mficj^l^fiitJ^ i
LmiL^
ISO
ftiRiu *-** j ji^JJifffij.j'?^
^ J
^ffl l J <J I J.;>l r ^J7i l JÂ l
1
rp J S
p
Robert Franz
j'-i M ^nnrruîjan "*- p

/5/
ft Il ipBl i
Gir^jTuT r j 1QT1
Robert Franz
jxjftf P i Lf t-r i r r i r M C
rrrirr î
Section V
Foreign Modulation
The melodies which are found in this section are taken from the
works of Haydn, Franz, and Schub ert. In some instances the melodies have
been shortened to make them more useful for dictation. They also serve
to illustrate a practical way in which foreign modulation may be found
in actual music. For more exampl es of this type of melodic dictation,
turn to the complete song public ations of the above composers and their
contemporaries. The author wishe s to point out the necessity for using
the accompaniment in connection with the melodies because the implied
harmonies are not always clear.
/*/
n-f nf l
gl^HJ l
r Wt*H y m
^JyfliMf I
*. H tyu i
^^P
f i '' rim wfNjj jnrJ J^r

~
ft r r i i
pi j j j j
r*i H im
J
I
J
r Jr imp
frT «
Mfi r
*
j i j>j *r 171 XL m
b\ .\\
\ mr<m ^^ [^>seph
a*
Haydn
I :
/sz
tyU \
J
\£\ 1?f flaJrV'T M^^
^H f
^MrrjpT^^L L flf
Robert Franz /5"3
f
1
JiJj>jj> i
f
'j^n^r7777 r-jnft i ^
±=s
ftlVHrHf'f MrjJJll U'fpf >
f J J
^ r [ »
LLj i
J
-
r
Ji J J,J t>TTr^^
Yanz Schubert
ftru l
t -r (TTur i
rrr. i
rfMr r
PART III
HARMONIC DICTATION
HARMONIC DICTATION
Section I
Triads and Modulation to Closely Related Keys
Recognition of the Tonic Chord
Characteristics of the tonic chord:
1. It is the chord of rest.

2. It is the harmony which identifies the key.
3. It may appear at any point within the phrase.
The tonic chord appears in major and minor keys as follows:
Major Key Minor Key

Symbol Type Chord Symbol Type Chord
I Major Triad I Minor Triad

I Major triad
it (only as last
3 chord of the
phrase)
Drill:
A phrase of music will be played once. At its completion the

student sings the tonic triad.
Example:
Instructor plays Student sings
Sx./
gj 4
»?r
M
f
J J
r r '
i
r
*
r
a
0m H
as H^*
"Lm .
Do not be concerned about the fact that the chords are in inver-
sion. For this drill, any exercise may be used provided it does not
contain a modulation.
Drill:
A phrase will be played once. As the phrase is played a second time,

the student sings the tonic triad at each appearance.
47
48 TEACHER 1
S DICTATION MANUAL
Example 2:
£*,2
Instructor plays
,_j iij, 1 > JLJ
Student sings on
a neutral syllable A: iff] |
l *JH]Jffl]u 4 ^] ||
The Instructor may use any chords of the key In root position
or in first inversion. The tonic chord should be used in first in-
version as well as in root position. Avoid the second inversion of
the tonic since it is considered a nonfunctional sonority.
See Contrapuntal Harmonic Technique , Chapter 9.
Drill:
A phrase will be played once. As the phrase is played a second

time, the student recites at each appearance of the tonic triad,
either "major tonic" or "minor tonic" as the case may be.
Example 3:
Ek.3
Instructor
plays
Student
recites fUjo* Tonic, — Ekjfrf Tonic — — «- frjo»Wifc — flftjfrrTonic
Example 4:
£av
Instructor
plays
Student
recites ^nmorton/c w — minor tonic m\r**t6M - m'\y\vrt»*\* —
HARMONIC DICTATION 49
Drill:
A phrase will be played once. As the phrase is played the second

time, the student identifies the tonic triad as it appears by
writing the Roman numeral I. The remaining chords should be repre-
sented by dashes.
Example 5:
Ex.S*
Instructor
plays
Student writes
^m r 'r
'
r ip r lr r l
^
3
Triads of the First Classification
Characteristics of the triads in the first classification:
1. They want to progress to the tonic.

2. Their roots are either on the dominant or on the leading tone.
See Contrapuntal Harmonic Technique , Root Movement to Tonic,

pages 5 and 6.
Drill:
A phrase will be played once. "As the phrase is played a second

time, the student sings the root of each chord.
Example 6:
£x.6
Instructor plays
P 1
|i
1,1 |i 1
1
a
yy W
i
A A
is ¥EE
Student sings on
a neutral syllable
wn ^ v t
p p
i
1
50 TEACHER'S DICTATION MANUAL

Drill:
A phrase will be played once. As the phrase is repeated, the

student identifies orally or in writing the type of each chord.
M - Major triad
m - minor triad
d - diminished triad
Example 7:
£*. 7
Instructor plays
§ 1
1
1'
, i
1
±=t
f=f=r m
Student recites
or writes
\r*t r r M I
ff"
Drill:
While the student is singing the root of each chord in an exercise,

the instructor may halt the phrase at any point. The student sings
the root of the chord to which he believes the last chord should
progress.
Note. If the root of the chord at the point at which the phrase
was halted wants to progress to the root of the tonic chord,
the chord belongs to the first classification.
Examples 8 and 9;
&.f £x.9
Instructor plays
mj i f
I m r i
J
r fay
<
i
» • •
Student sings R'i A P I 1 5 Bjjj El M#I F < 1
The previous drill establishes the normal progression for the

chords of the first classification. A chord which has its root on the
dominant or leading tone, normally progresses to the tonic.
Drill:
A phrase is played and on the second hearing the student recites or

writes the classification of each chord.
I = Tonic
1st cl - First classification
Example 10:
Instructor plays £*• to
Student recites
m% i
t i
i
j r
J*ci. l#ci.
^N^
i t tea.
or writes
Triads of the First Classification
Major Key
Name Symbol Type Chord
Dominant V Major triad
Leading tone VII Diminished triad
Minor Key
Dominant with V Major triad

raised seven *
7
Dominant (infrequent) V Minor triad
Leading tone with VII Diminished triad

raised seven *
7
Before giving the next drill the instructor should be sure that the
student knows the possible chords in the first classification, their
symbols, and correct names.
Drill
A phrase is played;* the student recites or writes the name of each

chord.
Example 11:
£x./r
Instructor plays
1
1
ri?!?, '!'?!?/'!'
Student recites
or writes
I III I I |I I
I
7 t 1
As an additional drill, the instructor gives the name of the key;
the student spells the triads. For example, in the above exercise the
student recites or writes a c e, e g b, a c e, e g-J[ b, ace, g-# 'b d,
a c e, e g- J b.
Tonic and First Classification Triads

/ %
$iûi\H if \ i \*\ \
\\ \l\ \
i ii fin i
f
The instructor should play the phrase at least three times when the student
is asked to write the symbols.
d
j ^ j
J
r
J
r
.
T
J J
r
J
MP
i
.J i
e=p frl' f
! l ji^l|)^l
^
s ?
us i mi
4-
I z
t)
i j i m x i i
f I 7,
f 5
gin r
[Hir|Tf n ^ i a
N'trr'f
B
Ml
f f | hi *r
-«
r
6
(
l
^p
6 *
IIJI HIE I
#
X I
«
r 7 7 \
^ n^ f^
J-fi-i tt
to
- I . ,
n
B
1
i i
j
f r 1
jjLi-J LA it
»>*P i
f
i
Z. 'A £ V»J
I HE I TT I I I I IE I 2 III
r » r
Triads of the Second Classification
Characteristics of the triads of the second classification:
1. They progress normally to chords of the first classification.

2. Their roots are either on the supertonic or the subdominant.
See Contrapuntal Harmonic Technique (Introduction, pages 6 and 7).

Drill:
A phrase will be played. As the phrase is played a second time,

the student sings the root of each chord.
Instructor B».i% £x.'3

plays
Lj|^ J
l '?W ^V" li
J
Student
sings m f rrir r
r r^n f r
f
f
l f
r
f
Note to the instructor:

At first certain students will sing the subdorainant tone for the
root of the supertonic triad. This occurs especially when the triad is
in first inversion. The reason for this error lies in the fact that the
bass note of the first inversion of the supertonic triad is the subdom-
inant and the student hears a perfect fifth between the tonic center
and the subdominant tone which is in the bass. To correct this student
error in the fundamental of the supertonic triad, have him sing the
root of the supertonic triad a major second above the most singable
tonic tone. Do not allow him to sing the root of the supertonic triad
a minor seventh below the most singable tonic*
Drill:
A phrase will be played. As the phrase is repeated, the student

identifies orally or in writing the type of each chord.
Example:
Instructor plays Ex./q.
pmmmm p=pt
r^f
Student recites
Sty vS v A
r r |
f
j
r i
!
*r r
or writes m,m )
M |/m,d.) M\ M , ft fm
This same error appears later when the supertonic seventh chord is presented in
dictation. Rameau overlooked the possibility of a legitimate seventh chord on the
supertonic and called the chord a subdominant with an added sixth. Most of the
supertonic seventh chords appeared at his time in first inversion.
Drill;

progress.
was halted wants to progress to the root of a chord in the first
classification, the chord belongs to the second classification.
Example:
E*. tsr £*. /e>
£
Instructor
n r t
plays
m Wt 2 a Ut CI, Tonic
Student
sings F' t rrr
U£L Bak
B „tf
»r wm h i i
""
r
,i

chords of the second classification. A chord which has its root on the
supertonic or subdominant normally progresses to chords in the first
classification.
Before giving the next drill, point out to the student that a ton-
ic triad may appear between the normal progression of a second class-
ification chord to a first classification. See Contrapuntal Harmonic
Technique (Introduction, pages 9 and 10) .
Drill:
A phrase is played and on the second hearing the student recites

or writes the classification of each chord.
1 - Tonic
2nd cl - Second classification
Example:
Ex. ty
Instructor plays
P
Student recites
or writes i |*^m.,i.x.|r eL»ito>i l
p

Major Key-
Super tonic II Minor triad
Subdominant IV Major triad
Minor Key-
Super tonic II Diminished triad
Subdominant IV Minor triad
Supertonic with II Minor triad

raised six »
6
Subdominant with IV Major triad

raised six #
6
Before giving the next drill the instructor should be sure that
the student knows the possible chords in the second classification,
their names, and symbols.
Drill:
A phrase is played;* the student recites or writes the name of

each chord.
Example:
Instructor plays
B*,/V
pmsfmmm
ha \
lr r
Mr rr
W
I r V I
Student recites
or writes
Iff
5 % is IS * I*
•
i
f
I
i
the student Is
* The instructor should play the phrase at least three tiroes when
asked to write the symbols.

//
17.
fl^l''
p ? JH^f
rr ^ P
'•
"i^ i îi^ i
,^
1
!!! V i \\ i'ii
J
i i i n ii i
6
^
/3 /*
îjt ii^l^ ^ljll^tl'l^ l'tt
W.^V
l l l l
cU-i 4
K »g p i
'
i^
r
r
pp"' l'' f
^ i
| Si ^P f
i n ii ii i inn iii i> 6 't> 6>
IS /«
>*»ifrf
6
i i'r
6
i t^ i rknîii^ i
I II I I I II I 12 I I l I
# # #
7 7 7
/7 /*
6 6 6 #
1 IB* I IZZI 32 T I 1 I X
* it *
6
*
7
I
tq 20
£±«y
1
'
mmd
I III III XT EXIT! I
6 4> 1 7 1 *> 7 f 3
21 XI
r Ad A
m 'J
.
|
J
rt*?
6 #
i
4\A
r r
'6
'
l*
Ai
6
i
j
Hd j li
rp ph\i' ii'fif.i»»iFl
f
'6
i
. A A A
t
6*6 %
h
6 *
\
i I I x n I I I S Z II II 7
f
7 7 r 7 7
Period Exercises
43
fe J
f
I j J
'('.t'M'i'W'H'
^^J J
£>
II II ±4
mtn i I
6 6 6 I i r '
r t t i
v ^
5 I I I X I 3
#
12 X x I Z I
#
r i 7 y I *
7
a*
r^f
:: iJJiiJr i
1
LltAli
f r i
4444J4U i
/
6 6
III 112
6 6 6 6
3T I
6 & 6
E(I)I I I U I
%$
&
p j
r
u
1
m
ffiFP mnrm
j
r
j
r r r r r r r \ I
m
f
J J J i
1 v iii
h r J J J .J,
if
.J
p
J
r
ll
f
r c f i
1)
i i ii i i
26
r ub
'
I
W ffl
r r
t r
?
r r
1
'
r
r
f
r
r r f
r
'
^
=f=±=r
f
2
f
66
i i
i
f r r r i
h
6> i, s 6 s!/ vt<
3 y
7 I IflDl I X 1 I 2 I
zr z%
I S i i
Si r ii ii
<T6
i 1 1 1 1 «-i i i mi I'a) hi i ITZX III
* S
r 7
3=3
S=4 rJ
FFP tJTTT j
-J <*
|PPP? T j j
U
i i
l
LUug.*?
6 it
i | j
J J
|
Lu
J
»JP t-;
6
I
4 * e&
|
J
^ t> *
Li
1-T
mix I X X 111 IIII
* *
III* if
I X
7 7 7 r r
The Elision and Retrogression of the First and Second Classification.*
To recognize the function of a chord, th e student has used the

process of the normal progression. The natur e of the tonic harmony to
progress normally to any chord in its key or to appear between the
second and first classification has been pre sented. It has been estab-
lished that within the first classification, the VII may progress to
the V, and in the second classification the IV may progress to the II.
However, the subject of harmonic movement is not complete without the
process of elision and retrogression. The re trogression V to II or IV
occasionally appears in music, but the elisi on of IV to I is practical-
ly limited to the plagal cadence.
Drill: **
A phrase will be flayed. The student sings the root of each chord.
Drill:

time, the student recites or writes the character of the harmonic
movement.
Recites Writes
Normal progression N
Repetition Rep.
Retrogression Ret.
Elision E
Note: When the tonic chord appears between harmonic movement which is
not the normal progression, first classification to tonic, ana-
lyze the harmonic movement of the chord before the tonic to the
chord after the tonic. For example, in the progression IV I V,
the analysis ignores the tonic and considers the progression IV
and V as a normal progression.
Example-s:
Ex. iq
Instructor plays
,
m
,,
j
f
i
'r
j -i
r
j
r
Student recites
i i t
F
(P
s J , j
r* i
j
or writes
N> ^-^ ,fkt> }
N ,Rc(,,li
•'See
Contrapuntal Harmonic Technique (Introduction, pages 11 and 12).
**Use exercises which contain an elision or retrogression, and point out the
characteristics of the el ision and retrogression.
Instructor plays
V
ggffl
a j ^ , j
Student recites
or writes N , Art ,
N , /Y , /Y , /V
Drill:
A phrase is played at least three times; the student recites or

writes the name of each chord.
Example:
£r.2/
Instructor plays
1A
Student recites
if
I'lM'i'j'ltff i
1
i M
or writes I X K X III
*f 30
{H»
H»^nnrtn l
/lt/,|
l
(
4»J-i
'
'W ^/. I
'j
'r I
i J Li
i.j.ijj J, J
PW c
r
ir r r r
l
r r
r #66 T
'
6
hi
(o
i n hi # * #
171
7 6 7 7
3/ dZ
hi
P"}±±ii ] mi
HI t^ iilljt i wmii
W»;
mi
j
f
,
l
r
6
xii
r
p Wc f
I
I f
^^
Hlf 112
f
6
j
6
j
i
33 34
J lJJ All ÂjMljjJj^LI

_ ,,
r r r
j
r
'
r rr^
.
^^ 6 "^ 6 6^ £
i 1 1 a 1 **7 i in
I
nit's€ * €7 ?
3
7 r 7 7 7
3S 36
£k
ess
gga f
Uyy pi
6 6 6
I
r
r
6
r
•
£ePS
Mrr *
tlii ff n i I IIII III
Soprano on the Staff and Roman Numerals
The first step in writing all voices from dictation is to place

the soprano on the staff. The procedure which enables the student to
place the soprano on the staff and identify the chords is as follows
1. The instructor announces the key of the exercise.
2. The instructor plays

exercise once. f r r r rTr
r
if f
'
f r r '
r r
3. The student prepares the staff and determines the meter as

follows:
£x. «,3
te 1
4. The instructor repeats the exercise. The student identifies the

chords. The student solution should appear as follows:
ay
^
Ac.
1
WII BIT
5. The instructor repeats the exercise.* The student places the
soprano on the staff. The completed exercise should appear as
follows:
i ii',n"i j n '
I
J
i i J
7 7
Roman Numerals, Soprano, and Figured Bass on the Staff
The first step in writing the figured bass on the staff is to be

certain that the student can follow the bass line.
Drill:
As a phrase is played, the student sings the bass melody on a

neutral syllable.
Example:
Ex. 2*
Instructor plays
M^^
1
If I
I I'll l!'i' i
ill
Student sings on
LMM
a neutral syllable
m f r T r 1'r
The exercise may be played more than once at this stage. The instructor must al-
ways bear in mind the fact that on a test the maximum times an exercise should be
played is four times. It is obvious that the difficulty of an exercise should de-
termine the number of playings.
Drill:
The instructor gives the key of the exercise. As the phrase is

played, the student sings the bass melody with the correct pitch
names.
Example:
Bc.zr
Instructor plays
iji'i ,'/|iii'
iil A
m P^
i t 1
J=|=Jr
j
Wq rr r l
P
ri£_U S
Student sings
@H r r Np r if r i
g
Drill:
As a phrase of music is played, the student identifies the position

in the bass of each chord.
R = Root position
1st inv = First inversion
2nd inv - Second inversion
Example:
Instructor plays Bx.Zf
Student recites
or writes.
hJ 'l .
f
,
f
,
r
.
r
T
I r .
r
f
r
Drill:
The instructor gives the key. The student is to write the chord
symbols, the soprano, and figured bass on the staff.
The instructor announces the key of G minor

First Step.
The student prepares the staff as follows
Example:
$i
s
Second Step.
The instructor plays the exercise. The student determines

the meter.
Example:
£x 3ot
Instructor plays
p% i i i
\
j j
| TTT
^^ f#44
£V. 3/
f T I
'
f
Student adds meter li ^

y
A
and bar lines. 4
S
ff
Third Step
The instructor repeats the exercise. The student writes

the Roman numerals.
Examnle:
£y.3A
Student solution
thus far.
Pi
S3
4 7 *
m .
Fourth Step.
The instructor repeats the exercise. The student places
the soprano on the staff.
Example:
Student solution
thus far.
Pp^N 2=1
Efc % XT
it #
(o 7 7
Fifth Step.
The instructor repeats the exercise. The student places

the figured bass on the staff.
Example:
By. 34/
e
Student solution j i j j j \
i
completed.
m n'ir'f
I
6 6
Bill III
r
j
!
6 6 ^
# *#
6 7 7
D
The Triad of the Third Classification
Characteristics of the triad of the third classification:
1. It progresses normally to the chords of the second classifica-

tion.
2. Its root is on the submediant.
See Contrapuntal Harmonic Technique (Introduction, pages 7 and 8)
Drill:

time, the student sings the root of each chord.*
When the key of the exercise is given, the student will sing the pitch name of the
root of each chord.
Example:
Instructor plays
l'Wi)ff ,
'
i
?t I
Student sings
Vti I
l r j t i l.> |
I
Drill:
A phrase will be played once. As the phrase is repeated, the

student identifies orally or in writing the type of each chord.
Example:
Instructor plays
£x. 36
t
JUf
i
J
frt
j
J
j
J
j
^
rr*r
j La
, j f
Student recites
or writes
*> n d t*l **•! '*«/ /v
Drill:

progress.
was halted wants to progress to the root of a chord in the
second classification, the chord belongs to the third class-
ification.
Example: 37 £K -3*
m
Ex. .
Instruct)
plays
?m £±3±5f
7 ff f 1
^
either
Student
—»»»»
sings
tjt
chord of the third classification. A chord which has its root on
the submediant normally progresses to chords in the second class-
ification. A tonic chord, usually in first inversion, may appear
between the normal progression of a third classification chord
to a second classification chord.
Drill:
A phrase is played at least three times, The student recites or

I- Tonic
2nd cl = Second classification
3rd cl - Third classification
Example:
£*.39
Instructor plays
ft
4 r r f p P r'P
m
' '
f
Student recites
-
w*f
J
U
m
J J
j \j
\f
i
jI
i
j
J J
r
i
tL
j
¥
Z*Z ClJ*&> I 3**. **Cf., /
s
*/.j I
or writes
The Triad in the Third Classification
Major Key
Submediant VI Minor triad
Minor Key
Submediant VI Major triad

student knows the possible chords in the third classification.
Drill:
A phrase is played at least three times. The student recites or

Example:
Ex. to
Instructor plays
'"'.IWHi!
Student recites
or writes
m kiJ iii
1 ± t
i ir
X
r
II
r r
I
m
XII
Dictation Exercises
The Triad of the Third Classification
Normal progression
31 33
I I 2 7
f
I s I
* IX
! Te
SI Wit
r l !
3? *a
p^ .
J
r
J
r
J
f
J
r
.J «—
Tr r
fad
r r~rr r~r
j t j J
sm
1
j
r
.
'
j
12 1
J
ff
J j
1
.
yr
j
tzti
j-i
r ^^
inn
mJ .r -J
•6
J
i
, r)
1
J
n x
Hi
rm fefe*
Si i j g a
i nm r F*r
r '
"i
^^ J
r^r
6
J i
4>
r I
fr »»t r 1
1
1
J:
f
uri *, *
BTZI III
* 7 6 r r
Elision and Retrogression
The elision VI to V is quite frequent. Occasionally the tonic triad

appears between the elision VI to V. The retrogression V -to VI appears
within the phrase and in the cadence (deceptive cadence) The retro- .
gression VII to VI is infrequent and occurs only in a major key.
Drill:

recites or writes the character of the harmonic movement.
Example:
E*.«i
Instructor plays
Student recites
or writes
Drill:

Example:
£*. *2
P i
i'Wi'il 'i'h!
as km
Instructor plays
1 i J
f r r r i
f
f r
6 tj
Student recites
or writes
E 3 I X
7 7 7
Drill:
The instructor gives the key. The student writes the chord symbols,
soprano, and figured bass on the staff.
Example:
Instructor plays
four times
J
»"i r | r
j I
r ^ J
£*. vy
y i j j j j i j j j
Student solution
tm r f r
r
f=f
* f
I HI
#
1 III
Triads in the Third Classification
43
H
4 J> a
|/|f
i
|
n nil
ii'
i J
ji'i'
i i
i
J
fUit^.jn^
i
. . « 4
III TB II
J JJ
i
^ i J J
I
i
^5 *6
j i ri j
1
u
p=p '
I i"f
_. ju.-M.j44> ....4.44
hi i i in i
iiiyfirrVi'
i ii
<o pw
it :i:
6
*7 ¥9
^ j j -i - ri i
r f 'f p 'p?
i
i
&.
S 4 J ,4 j -J j
p ?
'
p p' i
r
p
I I I I I I 7E.X X ii sun
f? tfa
psffff s •j r r r
p
' f *
*^ r r r r
pgpE ri*ni>' i )i
|
iniw»i' l
i
'
}i'!ni
f p" r'r
6 6 r
1
6 6 6
I I X I HT H I IIIU! I
,sv jx
ii
V*
n * %^
ii
f
^^
\V
ii
6 6 Y<, ft
6 #
i
r
If :i i i i
i i i
y 7
^3 <sy
Period Exercises
s-j-
ye
« * 1 i
j j 7 | ÎIIWTill
i i J
O
iJii
FTT=r
j j
'r
j ,
m Jii-j-
i
^
# « 6 #
i
£ ft
*
7 1 r r
f
i 1 1 n v t f r r
n Th
4 6 ^ r
'
r
'6
r r
6 ^ r i
f
EH UIi I I I X E 11 I I
J"7
te
* 4
.
wig f r r r
i f
j
r f
j
j
r
i
*rr tl
J
^
r
r r
j
i
J
'f*f=f gj
# #66 5"
III I HZ Z I
# rf tf
III
7 I r * 7 r 3
Si
^^
ff r
I HI
j
P
'
i
^=^
ff
P
cJ
P
r' P
J
I I
,
a j,
I r
ir
f
I
i
£>.
Ci
P
±
r T
1
^H r r
III II
'j» r 't'
II
f
O
X
The Triad of the Fourth Classification
Characteristics of the triad of the fourth classification:
1. It progresses normally to the chord of the third classification

2. Its root is on the mediant.
See Contrapuntal Harmonic Technique (Introduction, pages 8 and 9).
Drill:
A phrase will be played once. As the phrase is repeated, the stud-

ent sings the root of each chord.*
Example:
Ex.
mm
4^5"
Instructor plays
I
liA i li'A
m l f
r 1 r i
p^
Student sings
gg % \ r
r
i '
r
r 1 B
Drill:
A phrase will be played once. As the phrase is repeated, the stud-

ent identifies orally or in writing the type of each chord.
Example:
Ex. *6
Instructor plays
f 'r'llJ'i'i'iW
Lii-i*L£ U
Student recites
n%*
J i. 1
f
J
f f
Ir p A
'
or writes**
-When the key of the exercise is given, the student will sing the pitch name of
the root of each chord.
**rse A z Augmented triad
Drill:

progress.
was halted wants to progress a fifth to the root of a chord
in the third classification, the chord belongs to the fourth
classification. This normal root movement of a fourth class-
ification chord to a third classification chord is not easi-
ly detected by all students. The instructor must improvise
short examples containing III to VI to develop recognition
of this root movement. It is quite natural that the fourth
classification chord will not react in fifth relation to the
third classification as readily as the second classification
does to the first classification.
Example:
Ex. *47
Instructor plays ^*i/l|l|/

111
W**^FTlf f
Student sings IWt r
I
!
r
%-
4*ci. af ci.
Drill:
A phrase is played at least three times, The student recites or

I- Tonic
"
1st cl
"
First classification
2nd cl Second classification
™"
3rd cl Third classification
"
4 th cl Fourth classification
Example:
Ex.**
Instructor plays
mni ( n i |ii
m T ( t
,j i
i
r
r i \ ir p
r
Student recites
or writes
Major Key
Mediant III Minor triad
Minor Key
Mediant with III Augmented triad
seven raised J
7
Mediant III Major triad

student knows the possible chords in the fourth classification.
Drill:

writes the name of each chord. (Use exercises which contain the nor-
mal progression III to VI.)
Example:
£x h<?
%
Instructor plays
IJ'i \\{\\ I'll
Student recites
or writes
m r
I
i
f
r
1 I I
f f
I
\
t
m
III
Elision and Retrogression

The elision III to IV is quite frequent. The retrogressions VI to
III, IV to III, and II to III are occasionally encountered.
Drill:

recites or writes the character of the harmonic movement.
Example:
Ex. $o
Instructor plays
Student recites
or writes
t
m %
m m^p
r
/V,
r
E>
i ;
I
i
<r
h /Y> /V.
Drill:

Example:
£x.S/
Instructor plays
'
k THTTaI
M t
Student recites
or writes
(
i
i
nn
r f r r i
j
i Ti
r
f
Drill:
The instructor gives the key. The student writes the chord symbols,
soprano, and figured bass on the staff
Example: £JK. SX
Instructor plays
four times
Ml rr 1 I ? pU r
i
|
E*.S3
Student solution
J J I i J -I
i j J i
rj.
I I I I
; I
f f I
»ft1 r
f
I P r l
r
'
i
i a b a n i i I
Triads of the Fourth Classification
5? to
ppgiffpp & rf p'Pp'p Pf

to^ Udm gBgi jj6 ^H |
J
i
|t
n it it i
6 6
I II II 111
&i &1L
p*di h±t l
^M
'
jfr
\
j
'f rff g
Mii'ii'ii'ii
m. VQi
lMH, i'M l
6
I 'i'l
6
â
*
i S
I X I It I 1 X I Jl I I
63 6V
^gfil^l l
fi g 1
)1
l
»'af ipi!ii! Jii
F^T
,
i
A
Jiapii'Mf $MM
£6 6
I I! II II I 1 2 IL I TL TB> X
The 6-5 on the Dominant at the Cadence.
65 £6
^
u r I ? l| I'i!
> ^
!
J I
u'& s r^Fr s
± j j ±
I '
i
r f
66
r r r E E r 6 5"
W) . # -
i mi tz it x I I I I
*
Period Exercises
i
»,.
l
i
iff
il i
1
i
|i
j
i
il
irr 1
J
(
t
j
T=f
j
r
i j
}
f
m
j
j
j j
T T if
1
I
4
n
f
-1
r \ i
I X B n I 12 I TE TI IL IT III
4*
l^w »tfio
1
f
if
<
r
i
?
H
j
^
li
r
j
,
J
i
J
j
1
J i
1
r i i
[
/.
6,
/L
(,
U
6 IZ
I BI 1 1 il i 1 I I I III
6f
\\\\[\\\Ab\i\{K(\
1
l!
]
1 ')>/ 6 6 6
if
fe 5T
i
6 ^ I
i
6 >XA
re
.# *.
x
*7 it
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Modulation to Closely Related Keys
Key signatures, and elementary major and minor key relationships,

are explained by the circle of fifths.
If one progresses to the right in either circle, the nex t key will
have one sharp more or one flat less than the previous key. Similarly,
if one progresses to the left, the next key will have one fl at more or
one sharp less than the previous key. If a quandrangle is pi aced about
three keys in the major circle and the corresponding three m inor keys
in the minor circle, as shown, the enclosed major and minor tonic
triads include all possible diatonic triads in the major key of the
center major triad, or in the minor key of the center minor triad.
For example, select D major as the center. The following is the
result:
Position in Position in
Major Circle
d Major Minor Circle D Major
IT Minor triad e G Major triad IV
VI Minor triad
w
b D Major triad I
//
III Minor triad f# A Major triad . V
Examining the circle of fifths, one sees that D major and B minor
have the same signature. Since D major is considered the starting har-
monic center, each of the remaining keys has either the same key signa-
ture, one sharp more, or one flat more. I t is also important to observe
that the tonic triad of each key is contained as a diatonic triad of
the key of D major.
A closely related key is defined as a key whose tonic triad is a
diatonic triad in the original key. If a modulation takes place to a
closely related key, the new tonic derives its name according to the
Position of its tome in the original key. For example, if a modulation
takes place from D major to E minor, the modulation is to the super ton-
ic key. The new key will be minor because its tonic is found as a
minor supertonic triad in the key of D major.
Position in Position in
Major Circle
B Minor Minor Circle B Minor
TV Minor triad e ft Major triad VI
T Minor triad
w
b D Major triad III
II
V Minor triad f# A Major triad VII
A major and minor key which have the same signature contain the
same triads, but the functions of the respective triads are different.
The keys closely related to a minor key have their tonic triads as dia-
tonic triads in the natural minor of the given key.
Closely Related Key
Original Key
Interval be- Type of Name of
tween tonics key key
Up a per. 5th Major Dominant

Down a per. 5th Major Subdominant
Major Up a maj . 2nd Minor Supertonic
Up a maj . 3rd Minor Mediant
i Down a min. 3rd Minor Submediant
Up a per. 5th Minor Dominant

Down a per. 5th Minor Subdominant
Minor ^ Up a min. 3rd Major Mediant
Down a maj . 3rd Major Submediant
Down a maj . 2nd Major Subtonic
Drill:
A phrase is played once. The student determines the interval be-
tween the root of the original tonic and the root of the new tonic,
and the character of the new tonic triad.
Example:
E*. SV
Instructor plays
Student sings on
a neutral syllable i i^*H
Student recites Up a major second to a minor key. Modulation to
the supertonic.
Drill:
The instructor names the original key and plays the phrase once.
The student sings with the names of the notes the root of the orig-
inal tonic, and the root of the new tonic and the pitch names of
the new tonic triad. This is followed by reciting the name of the
interval relating the two tonics and by naming the modulation.
Example:
SjcfS"
The instructor names

the original key and
plays
/!
1
1
I.
m I'l
!
Student sings with

pitch names
m 2/
Student recites - - Up a major second to D minor, supertonic key
Just as the recognition of the tonic triad was stressed before the
presentation of the four classifications, so in modulation the recog-
nition of the two tonics must be thoroughly mastered before specific
modulatory procedures are presented.
Modulation Within the Phrase
Two types of modulation are found within a phrase: diatonic and

chromatic modulation ( see Contrapuntal Harmonic Technique, Introduction,
pages 17, 18, and 19) .The drills which follow will show the way in
which each type of modulation is to be analyzed.
Drill:
The original key is given and the phrase is played four times. The
student writes the chord symbols, the soprano, and figured bass on
the staff.
BK.S4f
Example:
Original key is C Major S

fm rr fwW
Instructor plays
mm &
En. &7
mm
i z i
four times
Student solution
Modulation by chromatic chord progression may or may not be ana-

lyzed by the common chord methodc If the chord which contains the chro-
matic inflection is not a natural function in the old key, it is to be
considered a diatonic function in the new key. A chromatic modulation
is an abrupt thrust into the new key center. Composers constantly keep
this in mind and carefully contrast diatonic common chord modulation
with the more striking chromatic modulation.
Drill:
The original key is given and the phrase is played four times. The
student writes the chord symbols, the soprano, and figured bass on
the staff.
Example:
Original key is A major
Instructor plays
four times
\
Ex. f9
thtjlihli ir
Student solution
p^ s **
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In this dictation example, the C-sharp major triad which is in-

troduced as a chromatic progression is not a functional chord in the
key of A major. The C-sharp major triad destroys the original key
and establishes a chord of the first classification in the new key.
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Modulation
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Section II
Nonharmonic Tones and Triads
Four Voices on the Staff
After the student has completed Chapter 10 of the Contrapuntal

Harmonic Technique dictation of nonharmonic tones should begin. In
,
dictation including nonharmonic tones, the alto and tenor will be

placed on the staff. This will reproduce the entire score which is
played. Nonharmonic tones help to make inner voices stand out as inde-
pendent melodic lines.
There exists among students considerable variance in their apti-
tude for four-voice dictation. At first the student should be encour-
aged rather than forced to write all four voices. To aid the instruc-
tor in obtaining speedy results, the following drills help to focus
the student's attention on the inner voices:
1. Identification of close and open structure.
2. Identification of perfect octaves, perfect fifths, and perfect

twelfths between the bass and tenor.
Drill:
As a phrase is played, the student identifies the structure of

each chord. This may be done by reciting or writing.
Drill (oral):
As a phrase is played, the student identifies the perfect octave,

perfect fifth, or perfect twelfth whenever they appear between the
bass and tenor.
Drill:
As a phrase is played, the student writes the soprano, bass, and

the intervals of a perfect fifth, perfect octave, or perfect
twelfth between the bass and tenor.
Example:
Instructor plays
Studen t solution 1 / fa dL -r • d • d 3
htfirr^'r l
r ^
When the fifths and octaves between the bass and tenor have been
added, bring to the student's attention the fact that the tenor line
is practically solved.
The previous drills may be correlated with a knowledge of part
writing. It is obvious that knowing the style helps the student to hear
more easily. For example, if the student has placed soprano, figured
bass, perfect intervals between the bass and tenor on the staff, and
has written the chord symbols, knowledge -of part writing will enable
him to fill in the alto and to complete the tenor. The student can then
concentrate on a particular voice as the exercise is repeated, and
discover for himself whether his solution conforms in every respect to
the linear movement of the four voices.
This procedure can be reversed. Knowledge of part writing can
catch aural errors. It is impossible to overemphasize the importance
of correlating knowledge of part writing with dictation exercises.
Passing Tones
This section is to be correlated with the Contrapuntal Harmonic

Technique ,Chapter 11. The passing tone does not affect the function
of a chord.
Drill:
A phrase is played. As it is repeated, the student sings the root

of each chord.
Example:
E*. 6a,
isfc
Instructor plays
% PPP
^Fiii
523
g£
"!' i
W r
Student sings on a
neutral syllable.* F^SE ^ f
*If the key is indicated, the student sings the pitch name of each root.
Drill:
A phrase is played. As it is repeated the student identifies orally

or in writing the classification of each chord.
Example:
Ex. 63
Instructor plays
ag **=* wm
^^ STTg
tf=U
UJ LJr
Student recites r
I
f 'LJf r
r
»^ /î *«/
or writes i , i,rt/.Arfa,
.
i ,/^j
Drill:
A phrase is played at least five times. The student places all four
voices on the staff with figured bass and chord symbols.
Example:
Instructor indicates
the key and plays
3
I 11 f
J '
/»M
i 1 1 h J-^5
KiXtrt
£x k&
ur m
Student solution
pi l^hu It
iiin i-HhS
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Suspensions
This section is correlated with the Contrapuntal Harmonic Tech-

nique, Chapter 12.
Drill:

of each chord.
Example:
£*. 66
Instructor plays
^ c
/
j
1
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/ / 13= r
i j
mp
Hr-ir I
err nr nr i
f f
i
Student sings on
a neutral syllable
m^ f r I
j r J
Drill:
A phrase is played. As it is repeated the student identifies orally

Example:
Bx. 4>7
Instructor plays
fi a i 1 I
m J ,
i * > J , 1 J— l
Student recites
p
^r 'L/ r feir *r T f
P
or writes /*&•, 1,1, arki,m t z , t*a. t i
10 2 TEACHER'S DICTATION MANUAL
Drill:
Example: B*. 68
Instructor indicates mml±a*

44 i
f=r W¥
the key and plays
m
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c j gg
SE B i
If
i i
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Student solution P^ S l
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Neighboring Tone, Anticipation, and Escape Tone
This section is correlated with the Contrapuntal Harmonic Technique,

Chapters 13 and 14.
Drill:

of each chord.
Example:
Ex.vo
Instructor plays
m d=^
J 4 I
oi'/
I i
m
J^!i
r r f
r
l
U * t
Student sings on
a neutral syllable P"c T U J
r a u 5 I
Drill:
A phrase is played. As it is repeated, the student identifies orally

Example:
£*.7/
Instructor plays
Student recites
i A A A
Kinr
gg LJIr rw rr
^
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or writes I >
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/ c/. t
«r
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Drill:
Example: B*. 72
Instructor indicates
the key and plays
^^b^
Student solution
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j i
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in
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Karraonic Dictation
Section III
Seventh Chords
As soon as the student has completed the study of Chapter 15 in the

Contrapuntal Harmonic Technique dictation of seventh chords should be
,
presented. The instructor will find that seventh chords in this section
are presented by classification of root movement. In the main text the
seventh chords are presented according to frequency usage in the style.
The instructor will find by experience that if he presents the first
and second classifications while at work on the part writing of the
dominant seventh chord, the dictation and part writing of all the sev-
enth chords will be completed at the same time. This is due to the fact
that the student progresses rapidly in the classifications closer to
the tonic center.
The drills will remain in the same order with one exception. They
must be preceded by type chord drills. In Chapter 15 of the main cext,
there are listed seven types of seventh chords. The style uses five
types of seventh chords. In the study of each classification the type
seventh chords which are used will be presented and necessary drills
will be introduced to fix the type firmly in the student's aural ex-
perience.
The author will omit examples of drills which by this time are un-
derstood by both the instructor and the student.
Drill:
Singing the type seventh chord with the names of the tones. The
instructor announces the name of the type of seventh chord which
is to be sung with the names of the tones and plays the root. The
student sings the seventh chord using the names of the tones.
Example 74:
Instructor directs the student to sing the E-flat major-minor
seventh chord
Instructor plays
*^
Student sings
with names of
tones
il ^§ i
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Drill:
The instructor plays any of the three types of seventh chords of the
first classification. The student sings the root and names the type
of seventh chord.
Example:
Instructor
plays Em. tS
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Seventh Chords
First Classification
The student is to memorize the following table:
Major Key Minor Key
Symbol ^YV e Chord Symbol Type Chord
V7 Major-minor seventh V7 Major-minor seventh

I
VII Diminished-minor seventh VII Diminished seventh

%
7
Drill:
Spelling major-minor, diminished-minor, and diminished seventh

chords. The instructor gives the <name of the root of the type of
seventh chord. The student recites the type of seventh chord
spelling.
Example:
Instructor directs the student to spell the D-diminished-minor

seventh chord.
Student recites: d f a-b c
*The diminished seventh chord will have the root in the bass in this drill ex-
ercise. Being composed of minor thirds the chord will not react to the theory
of inversion when it is in a key.
.

Drill:
Singing the type of seventh chord.

The instructor announces the type of seventh chord which is to be
sung, and plays the root. The student sings the seventh chord on a
neutral syllable.
Example 76:
Instructor directs the student to sing a diminished-minor

seventh chord.
Instructor plays
Student sings on
a neutral syllable i jTfl'ffi
As soon as
the student can recognize the three types of seventh
chords which are used in the first classification, the chords may be
introduced into the major and minor keys. From this point the drills
are the same as those used in the first section.
A phrase is played.
1) The student sings the root of each chord.
2) The student recites or writes the type of each chord.
3) The student recites or writes the classification of each chord.
4) The student recites the name of each chord or writes the

symbol
5) The student using staff paper writes the soprano, figured bass,
and the symbols.
6) The student using staff paper writes four voices, figured bass,
and symbols.
Seventh Chords
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Major Key Minor Key
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IV 7 Major-major seventh II 7
Minor-minor seventh
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6
IV 7 Minor-minor seventh
IV 7 Maior-minor seventh
The seventh chords used in the second classification introduce two

new type chords; namely, the minor-minor seventh and the major-major
seventh.
Drills:
1) The student spells a minor-minor seventh or major-major seventh

from a given pitch name.
2) The student sings a type of seventh chord using a neutral syl-

lable from a given pitch.
3) From a given pitch the student sings with the names of the tones
a type of seventh chord.
4) The student sings the root and name of the type of seventh
chord from dictation.
As soon as the student can recognize the five types of seventh

chords which are used in the first and second classifications, the
chords may be introduced into the key center.
A phrase is played,
4) The student recites the name of each chord or writes the symbol.
5) The student using staff paper writes the soprano, figured

bass, and the symbols.
and symbols.
Suggestions
The author suggests that calling a minor-minor seventh chord a

Two-Seven Type is questionable in light of the fact that a minor-
minor seventh is found as a IV 7 in a minor kev center. Furthermore,
this type chord is found in a major key as VI 7 and III 7 In like manner .
the major-minor seventh chord should not be called a Five-Seven Type.

The dictation exercises use the typical progressions and part-
writing devices found in Chapters 17 and 19 of the Contrapuntal Harmon-*-
\c Technique .
Seventh Chords
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Third Classification
Major Key Minor Key
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Minor-minor seventh
I7 This minor-major seventh

it chord is not used
7
The seventh chords used in the third classification do not introduce

a new type of seventh chord. It is not necessary to use any type seventh
chord drills.
A phrase is played.
5) The student using the staff paper writes the soprano, figured
bass, and the symbols.
and symbols.
The dictation exercises use the typical progressions and part-writ-

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Seventh Chords
Fourth Classification
In the style only one fourth-classification seventh chord is used.

It is found in major on the mediant. Its symbol is III 7 and it is a
minor-minor seventh chord.
A phrase is played.
5) The student using staff paper writes the soprano, figured bass ,
and the symbols.

and symbols.
The dictation exercises use the typical progressions and part-writ-

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nique.
Seventh Chords
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Triads and Seventh Chords
Modulation
2 3/ Period Exercises
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Section IV
Altered Chords and

Altered Nonharmonic Tones
Altered Nonharmonic Tones
After the student has completed the study of Chapter 21 (pages 224
and 225) of the Contrapuntal Harmonic Technique dictation of altered
,
nonharmonic tones should be presented.
Use the following drills:
A phrase is played.
4) The student recites the name of the altered nonharmonic tone.
For example:
Raised-four lower neighboring tone, lowered-
seven passing tone, raised-four ascending
chromatic passing tone
and symbols. The altered tone is to be indicated as found in
the dictation exercises.
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Altered Chords in Minor
This section is correlated with the Contrapuntal Harmonic Technique,

Chapter 23. The student is to memorize the table found in the main text,
page 234. The dictation exercises contain typical progressions and part-
writing devices found in the style. In presenting altered chords in
dictation, constantly keep the student's mind on the following idea.
An altered chord must satisfy two requirements:

1) Its spelling must contain raised or lowered degrees of the key.
2) It must retain the function of the basic diatonic chord from
which it is derived.
The drills are as follows:
A phrase is played.
1) The student sings th e root of each chord.
4) The student separate s the diatonic chord from the altered chord
and recites "diatoni c" or "altered" as the case may be.
6) The student using th e staff paper writes the soprano, figured
bass, and symbols.
7) The student using the staff paper writes four voices, figured
bass, and symbols.
Altered Chords
7
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This section is correlated with the Contrapuntal Harmonic Technique
Chapter 24. The student is to memorize the table found in the main text,
pages 244 and 245. There is only one altered chord of the first classi-
fication. It is found on the leading tone.
Use the drills which are found in Section B.
Altered Chords
Ma j or
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fication found in the main text on page 244. The altered chords are
presented in this section according to the raised and lowered scale de-
grees as they are found in the various functions. The exercises use the
typical progressions and part-writing devices of the style.
Altered Chords
Maj or
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The student is to memorize the altered chords found in the third
classification as listed in the table of altered chords in the main
text, page 245.
Use the drills which are found in Section B*
* Note the similar perfect fifths. See Bach-Riemenschneider - 139 (1)
Wonder lich 142 (1)
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Major
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classification as listed in the table of altered chords in the main
text, page 245.
Altered Chords
Major
III, III 7 , V7
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Section V
Vertical Sonorities Containing the Interval of the Diminished

Third or Augmented Sixth
After the student has completed the study of Chapter 25 of the Con-
trapuntal Harmonic Technique pages 270 through 276, dictation of the
,
vertical sonorities containing the augmented sixth or diminished third

should be presented.
In the music literature of the eighteenth century, the majority of
these sonorities containing the augmented sixth or diminished third ap-
pears in a minor key. For this reason dictation at first will be con-
fined to the use of these sonorities in minor. The chords differ from
other diatonic and altered chords in that they are not composed solely
of major and minor thirds. The diminished third or its inversion, the
augmented sixth, in a chord helps aurally to segregate that chord from
its more common brethren. Since the interval of an augmented sixth is
found most often, the sonority containing it is usually called an aug-
mented sixth chord.
The alterations in a minor key which produce the diminished third
or augmented sixth in a chord structure appear at only two places. They
are as follows:
£*.77
Example:
F minor
mm i>a q Q
The chords containing the augmented sixth or the diminished third

are found in either the first classification or second classification.
The following examples show the two intervals in each classification
and their respective resolutions:
Minor Key
1st Classification 2nd Classification
Aug. 6th
I g a— »*
Dim. 3rd
g
P |3
The F-# and A-b may be in the chords D F-tt A-b C, F-Jf A-b C, or F-J
A-b C E -b\ The chords have their hypothetical roots on either the dorain-
ant or leading tone. The resolution tone G will be the root of the tonic
chord.
The C-# and E-b may be in the chords C-J? E-b G, A C- t E- b G, or C-2
E-b G B -b. The chords have their hypothetical roots on either the sub-
dominan t or supertonic. The resolution tone D will be the root of the
dominan t chord, or any of the variety of nonharmonic tones that may ap-
pear in the dominant function.
The first dictation drill will establish the characteristic interval
of the augmented sixth in relation to the classification in which it
appears
Drill:
The instructor plays a tonic chord and follows it by either one of
the two possible augmented sixths that are used in a minor key. The
students sing the augmented sixth and its resolution.
Note. If the resolution tone is the tonic, the augmented sixth is

in the first classification; likewise if the augmented sixth
resolves on the dominant, it is in the second classification,
Ex. V?
Instructor plays **=*

* t f
m
Class sings in two parts
using a neutral syllable M $±
f
^*-
Student recites: The augmented sixth resolves to the dominant. It

will be found in a second classification chord.
The augmented sixth chords in the second classification will be

presented first in dictation. They are to be drilled in the following
order: augmented six-three, augmented six-four-three, and augmented
six-five. The student is quite apt to confuse the augmented six-three
with the augmented six-five or vice versa. The instructor will find
that the student prefers to think of these latter two chords as major-
minor sevenths, the augmented six- three as an incomplete major-minor
seventh, and the augmented six-five as a complete major-minor seventh.
This is the fundamental reason for the confusion. The first step in
clearing up this confusion is to insist that the student accept the aug-
mented six interval. The second step is to follow the presentation of
the augmented six-three by drills using the augmented six- four- three
which is an entirely different aural experience. The third step will be
to present the augmented six-five and to avoid using the augmented six-
three simultaneously. The student should be told that there are no aug-
mented six-three chords used in the exercises. The problem of differ-
entiating in the second classification these three augmented sixth chords
should be cleared up before the instructor presents them in the first
classification in minor, and in the first and second classification in
major.
Drills:
A phrase is played.
3) The student recites or writes "diatonic, " "altered," "augmented
six-three," "augmented s ix-f our- three, " or "augmented six-five,"
as the case may be.
5) The student using staff paper writes the soprano, figured bass,
and symbols.
6) The student using the staff paper writes four voices, figured
bass, and symbols.
Vertical Sonorities Containing the Diminished Third or

Augmented Sixth in a Minor Key
IV
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atrti^'i[>*+/ oh u.ied to
tucixted P.T. avoid fifths •
* The soprano G is a free tone. Its use here feels more like an escape tone. It is
not an essential dissonant thirteenth. The author questions whether this chord is
a dominant thirteenth chord.
37Z Volfgang Mozart
I
#
7
Implied
The augmented sixth chords are infrequent in the first classifica-
tion. The exercises are in no particular style and no attempt has been
made to organize them according to the type of augmented sixth chord
since by this time the student ought to be able to differentiate one
from the other with some degree of accuracy. The student should mem-
orize the following table:
Minor Key
Augmented six-three VII
27
7
Augmented six-four-three V
bi
21
7
Augmented six-five VII
bt
27
Use the same drills as found on page 145.
M
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Augmented Sixth Chords in Major
The augmented sixth chords in major are infrequent during the

eighteenth century. Most of them are found in the second classification
By the middle of the nineteenth century there is a marked increase of
augmented sixth chords in a major key. Likewise there appear infrequent-
7
ly a II 7 and a V 7 during this same century. The II is not to be confuse
t * *
2 2 2
with the IV 7 . * in order to complete the basic picture of these vertical
b
3
sonorities which contain the augmented sixth or diminished third, the
author has taken the liberty of leaving the style.
The augmented sixth chords which appear in a major key will first
be presented in the second classification. The alterations in a major
key which produce the diminished third or augmented sixth in chords of
the second classification are as follows:
£x. SO
Example:
tai Efo^g
fi£
The diminished third interval and the augmented sixth interval re-
solve to the dominant tone as follows:
£*. St .
Example:
The student should memorize the following table:
Major Key
Augmented six-three IV
t.b
46
Augmented six- four-three II 7
#b
46
Augmented six-five IV 7
b#b
346
* See Contrapuntal Harmcnic Technique , footnote, page 253.

378 37?
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:
The alteration in major key which produces the diminished third

or the augmented sixth in chords of the first classification is as
S
follows:
£*. 8*>
Example
& ii
The diminished-third interval and the augmented- sixth interval re-

solve to the tonic tone as follows:
£*. 83
Example
J *
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Major Key
Augmented six-three VII

b
2
7
Augmented six-four-three V
b
2
Augmented six-five VII

b
2

7
V VII VII 7
b b \>b
2 2 26
383
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:
The alteration in a major key which occurs in the nineteenth cen-

tury and produces the diminished third or augmented sixth appears as
follows
Ex. ft*
Example:
$ *&
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The diminished-third interval and augmented-sixth interval resolv*

to the mediant tone as follows:
£*.SS
^^
Example: I
It
F^f=
The important feature of this alteration lies in the fact that it

affects chords in the first and second classifications.
Major Key
Chords containing the raised-two
First Classification Second Classification

The seventh chord containing V Augmented six-five ii'
the augmented fifth* t it
2 2
Use the same dictation drills as found on page 145.
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* This chord is derived from the major-minor seventh chord. It is aurally analyzed a
an augmented-minor seventh structure. The diminished third appears between the
fifth and seventh of the chord. The root of the chord is usually in the bass. Com-
posers frequently consider the augmented fifth the more important interval when
the chord is in root position and they resolve the seventh upwards to the dominant
disregarding the normal resolution of the seventh as well as the interval of the
diminished third.
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Section VI
Modulation to Foreign Keys
After the student has completed the study of Chapter 26 of the Con-
trapuntal Harmonic Technique, pages 281 through 286, dictation of for-
eign modulation should be presented. The dictation exercises are in
three groups. The first group of exercises is in chorale style. The
second group of exercises is composed of recitatives from the choral
compositions of Georg Friedrich Handel. The third group of exercises is
in the style of the middle eighteenth-century instrumental compositions.
Dictation Exercises in the Chorale Style
Drill:
A phrase is played at least five times. The student using staff

paper writes four voices, figured bass, and symbols.
Foreign Modulation
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Recitative Dictation
The instructor plays the entire recitative. Having selected suitable

segments of the exercise, the instructor will dictate each segment until
the entire exercise is completed. The student using staff paper writes
the recitative and figured bass. A complete harmonic analysis showing
the method of modulation is to be placed below the figured bass. It is
not necessary to make a complete three-staff score. If the instructor
desires a solution of the figured bass, the solution of the figured
bass in relation to the recitative may be assigned as homework. -The com-
pleted student dictation exercise should resemble Example 542 on page
283 of the Contrapuntal Harmonic Technique
The following exercises are by

Oeorg Friedrich Handel.
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Dictation of Instrumental Compositions

Each dictation exercise in this section is a period in length. The
exercises are to be dictated phrase by phrase. The student is to repro-
duce the entire score and to place a harmonic analysis below the bass
clef.
Foreign Modulation
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»iodut4,tion
PART IV
Section I
Two-Voice Dictation
The presentation of the material in this section is to be correlated

with Part 3 of the Contrapuntal Harmonic Technique of the 18th Century
by Allen McHose. The two-voice dictation should begin after the class
has thoroughly studied pages 351 and 352 of the Contrapuntal Harmonic
Technique Two-voice dictation should be presented simultaneously with
.
the analysis of the examples found on pages 353 and 354 of the Contra-
puntal Harmonic Technique At the bottom of page 352 of that text a
.
plan for analyzing two-voice counterpoint is presented. This plan is to

be used at the completion of each dictation exercise. To clarify this
point a number of the dictation examples in this Manual is analyzed to
aid the instructor in bringing out the important characteristics of the
contrapuntal harmonic style.
Dictation Procedure
The key of the example which is to be played is given. The dictation

example is played as a comp lete composition and the student decides the
meter. Long examples should be divided into suitable sections. Under
these conditions the first section is played a number of times and the
student is given time to pi ace the notes on the staff. The instructor
repeats the old section and adds the next. The section is immediately
repeated and the student is given time to place the notes on the staff,
This method is continued un til the whole example is dictated.
The instructor should never dictate each voice separately. This is

obviously not counterpoint. Just placing the notes on the staff con-
sidered as an end in itself is meaningless. The dictation example must
be analyzed so that the complete compositional texture is understood
down to its most minute element. After each example is dictated the
class should sing the composition. The examples should be presented not
as exercises but as two-voice contrapuntal harmonic compositions. It is
the author's contention that the real value of contrapuntal dictation
lies in the fact that it contributes to students' musical understanding
of the art of counterpoint.
Two-Voice Dictation
I
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Fw*4*«enta/ 8a**
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a. In the lower voice the E is an accented passing tone. The unessen-
tial vertical interval of a perfect fourth is permissible since
tonic harmony is implied during the first and second beats.
b. In the lower voice the F-sharp is an accented passing tone even
though it forms a perfect fifth with the C-sharp. Dominant harmony
is implied during the first and second beats.
171
General Remarks.
1. If the cantus firmus begins on the dominant tone the counter-

point may begin on the tonic below, forming the vertical inter-
val of a perfect fifth.
2. The essential interval of a perfect fifth is derived by oblique
motion, first measure, fourth beat.
3. The perfect octave as an essential interval appears as the final
harmony in the perfect cadence. It is derived by contrary motion.
4. The most frequent essential interval in the composition is the
third.
5. The implied harmonies are in normal progression.
4 Two-Voice Dictation
m
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F.a,
i
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F f
The accented passing tone C in the lower voice appears at the
moment the two voices are moving stepwise and in contrary motion.
The implied harmony changes at this point.
b. In the lower voice the unessential tones C and E-flat are changing
tones. The entire measure is dominant harmony and the interval of
the sixth at the beginning of the measure is an implied 6-4 on the
dominant. Consequently the B-flat is an unessential tone and the A
is the essential tone completing the G-4 5-3 on the implied dominant.
The ascending lower voice under the A in no way nullifies this
basic conception of the cadence formula because the implied root
for the measure is the dominant.
General Remarks.
1. The essential intervals in order of frequency for this composi-

tion are the third and the sixth. The perfect octave and fifth
are less frequent. The perfect fifth implies tonic harmony; the
perfect octave implies either tonic or dominant harmony.
3. The contour of the counterpoint obeys the laws which have been
deduced from the analysis of the melodic line. (See Contrapuntal
Harmonic Technique, pages 357 and 358.) The melody has one climax
tone and one anticlimax tone. The counterpoint changes direction
after moving four notes in the same direction.
.
HARMONIC COUNTERPOINT 173
Two-Voice Dictation
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The accented passing tone C-sharp appears as the two voices pro-
gress in similar motion. This is permissible since the implied har-
mony for the first and second beats remains the same.
The augmented fourth is approached and left by contrary motion. The
interval is an essential dissonance and implies the dominant seventh
chord (chord of the first classification)
The perfect fifth approached and left by similar motion on the last
half of the beat is unessential. It is surrounded by implied tonic
harmony. This type of fifth is called a horn-fifth. See Contrapuntal
Harmonic Technique page 356. ,
d. The unessential tone B in the lower voice is a suspension. The im-

plied harmony is dominant. This is sometimes called a 2-3 suspension.
Oblique motion prepares and resolves the suspension.
General Remarks.
1. The most frequent essential intervals are the third and sixth.
The essential interval of the perfect fifth appears once in
tonic harmony. The perfect unison appears in the cadence and it
implies tonic harmony.
3. Observing the horizontal movement of the two voices, one will
notice the variety achieved by means of similar, oblique, and
contrary motion.
Two-Voice Dictation
CT, a 4 c
B M& f
iy^tf tyr fr ^ge i
6 PT- 3 P.T. 6 P.T-3 S p.r.3 3 S <° H- S 6 &

F.B.
gg f E X OIL X
TX
7 7
a. The diminished fifth implies the first inversion of the dominant

seventh chord. It is introduced by contrary motion. In the lower
voice the G-sharp is followed by a passing tone A and a harmonic
tone B. Note that the G-sharp actually resolves to the A which is
the first note in the last measure.

b. In the lower voice the essential tone F, which is the fifth of the
super tonic implied harmony, appears above the D which is the third.
c. In the lower voice the essential tone E which forms a perfect fifth
with the B implies the dominant triad, and is introduced by oblique
motion.
General Remarks.
1. The essential intervals are the sixth, third, perfect fifth,

diminished fifth, and octave.
3. The counterpoint has a climax note and an anticlimax note.
4. The rhythmic groupings of the notes in the counterpoint create
a sense of continuity. Notice that the counterpoint does not
move when the cantus uses eighth notes.
Two-Voice Dictation
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a. Although the E forms a third with the lower voice, the implied har-
mony dictates analyzing the E as an accented lower neighboring tone.
b. The G becomes a seven suspension resolving to the six above the
lower note A.
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Strict Imitation: Real Answer
The exercises which follow are to be correlated with The Contra-

puntal Harmonic Technique Chapter 34, pages 369, 370, and 371.
,
/6
•Venn wir in hochsten No ten sein Johann Pachelbel
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Christ lag in Todeshanden Georg Bohm (1661-1733)
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r,ij>v>.^ \
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Free Imitation: Tonal Answer

Dietrich Buxtehude
The exercises which follow are correlated with The Contrapuntal Harmon-
ic Technique, Chapter 35, pages 374 through 382.
21 Israel Type 1
Georg Friedrich Handel
in Egypt - #26
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21 Magnificat Johann S. Bach
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Type 2 Dietrich Buxtehude
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Dietrich Buxtehude
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Harmonic Counterpoint
Section II
Three-Voice Dictation
The dictation of three-voice harmonic counterpoint is correlated
with Chapters 38 and 39 of The Contrapuntal Harmonic Technique of the
18th Century. Three-voice dictation should be presented simultaneously
with the analysis of examples found on pages 401, 402, and 403 of the
Contrapuntal Harmonic Technique. On page 401 of same text a plan for
analyzing three-voice counterpoint is presented. This plan is to be
used at the completion of each dictation exercise.
Dictation Procedure
The key of the example which is to be dictated is given. The dicta-
tion exercise is played as a complete composition and the student de-
cides the meter. The instructor should break the exercise into suitable
sections for dictation. After the student has had time to solve the
first section, the instructor should repeat the section and proceed in-
to the next section. The new section should then be repeated.
Continue
this practice until the entire exercise has been dictated.
Three-Voice Dictation
30
Jesu, melne Freude Johann G. Walt her
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33 Vom Himmel hoch Cieorg Bohm (1661-1740)
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34^ Wenn wir in hochsten Noten sein Johann Michael Bach
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Es 1st das Hell uns Kommen her Daniel Erich (about 1700)
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36 Aria in Trio Johann S. Bach

Imitation
Real Imitation at the Octave

27 Allein zu dir, Herr Jesu Christ Joh*nn G. Walt her (16H4-17i8)
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Real Answer at the Fifth
Johann Christian
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Tonal Answer at the Fifth

*" Ein' feste Burg 1st unser r.ott Johann Nlcolaus Hanff (1630-1706)
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Free Mirror Imitation at Irregular Intervals
¥0 Christ lag in Todeshanden Johann Frasmus Klndermann (1616-1655)
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Chorale accompanied by two voices using free imitation

W Meine Seele erhebet den Herrn Delphin Strungk (1601-1664)
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Chorale accompanied by two voices which begin the composition in stretto
at the fifth.
Vom Hircmel hoch Friedrich WJlhelm Zachau (1663-1712)
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Crofts Books in Music
A History of Musical Thought By D. N. Ferguson
A Short History of Music By D. N. Ferguson
The Analysis of Form in Music By E. W. Doty
EASTMAN SCHOOL OF MUSIC SERIES

Examples Illustrating the Development of Melodic Line and Contra-
puntal Style from Greek Melody to Mozart
By Gustave Fredric Soderlund
Examples of Gregorian Chant and Works by Orlandus Lassus, Giovanni

Pierluigi Palestrina and Marc Antonio Ingegneri
Method of Organ Playing By Harold Gleason

A Modern Metfiod for the Double Bass By Nelson Watson
Answers to Some Vocal Questions By Thomas Austin-Ball
Handbook of Conducting By Karl Van Hoesen

Chorale Collection By Elvera Wonderlich
Including 156 Chorales by J. S. Bach, 22 Swedish Chorales, and 20 Norwegian
Chorales
Examples of Music Before 1400 By Harold Gleason
Sight-Singing Manual By Allen Irvine McHose and Buth Northup Tibbs

Direct Approach to Counterpoint in 16th Century Style
The Contrapuntal Harmonic Technique of the Eighteenth Century
By Allen Irvine McHose

Teachers Dictation Manual By Allen Irvine McHose
Basic Principles of the Technique of 18th and 19th Century Composition

(In preparation) By Allen Irvine McHose
Keyboard Dictation Manual By Allen Irvine McHose
(In preparation)
.••.".*'>: MS

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wmmmmm

Allen Irvine McHose

MANUFACTURED IN THE UNITED STATES OF AMERICA

Elementary Problems in Meter and Rhythm 5

II Unequal Time Durations in Compound Meter

Triads and Seventh Chords: Modulation 123

Altered Chords in Major: Fourth Classification 139

V Vertical Sonorities Containing the Interval of the Diminished Third or

Major Key: Chords Containing the Raised Two 158

Free Imitation: Tonal Answer 177

Rhythmic dictation precedes melodic and harmonic dictation. Only

Instructions for giving rhythmic dictation.

Give the meter signature.

1) Play the exercise twice.

2) Sing the above on a neutral syllable with correct pitches

5) Exercise played through once for student to check his solution.

When Type A is mastered begin Type B.

Give the note value which is to designate the beat.

1) Play the exercise twice.

1) Play the exercise through three times.**

Suggestions to the instructor:

1) Be sure to decide the tempo before playing an exercise.

* All tests should use Type C

Elementary Problems In Meter and Rhythm

The exercises in this section follow rhythmic reading drills in the

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Unequal Time Durations in Compound Meter

The exercises in this section follow rhythmic reading drills in

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Unequal Time Durations in Simple Meter

The exercises in this section follow rhythmic reading drills in

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Further Study of the Tie

The exercises in this section follow rhythmic reading drills in

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The exercises in this section follow rhythmic reading drills in

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Superimposed Backgrounds and Superimposed Meter

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Subdivision in Simple and Compound Meter

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The organization of the melodic dictation exercises is based upon

The melodic dictation exercises are arranged for presentation in

1. Tonic chord only.

Although it might be presupposed that the student s memory has been

developed through rhythmic dictation, the instructor i s urged to have

in taking melodic dictation, it must be constantly cor related with

sis, and sight-singing. For example, the dictation of a melody which

until the following presentations are completed:

From the very beginning of melodic dictation, the student should be

With this as a background the following procedure should be used as

1) Give the name of the first note.

To illustrate the manner in which the melodic dictation exercise is