SOUND TRAINING: TWENTY-SIX CHORALES OF J. S. BACH A COLLECTION OF INSTRUCTIONAL CHORALES AND “ SUPPLEMENTARY MATERIALS PLAYABLE BY ANY COMBINATION OF INSTRUMENTS arranged by WAYNE GORDER Bb TREBLE CLEF I 10310124 Lupwig asters ‘PUBLICATIONSBb Tresie CLEF SOUND TRAINING: TWENTY-SIX CHORALES OF J.S. BACH ARRANGED BY WAYNE GORDER A COLLECTION OF INSTRUCTIONAL CHORALES AND SUPPLEMENTARY MATERIALS PLAYABLE BY ANY COMBINATION OF INSTRUMENTS Unique Fratures Or Tuts CoLLectION 1) Includes chorales in ail major keys and seven minor keys; two chorales for four common keys. 2) Playable by any combination of instruments- -foutr like instruments through any large ensemble. 3) Soprano, alto, tenor and bass (SATB) voices present on all parts. 4) Chorales are simple, non-florid and emphasize harmonic structure. SPECIAL SUPPLEMENTARY INSTRUCTIONAL MATERIAL 5) Seale and I-IV-V-I chord progression with each chorale. 6) Harmonic intonation adjustments for increasing tonal sonority are indicated in the score and in each part. ascap. cpa ase La ue rubing Cn, Cala Cho 410100, Printed Intematonal Copyright Secured, ALL RIGHTS RESERVED in ‘Any copying arranging or ecto ti Work witout cunore cansonisanilangomant ofthe sapyight. USA tost0124TaBLe or CONTENTS ‘The Goals of SOUND TRAINING : Quality of Sound and Harmonic Intonation Beats” and Resultant Tones Essentials of Harmonic Intonation Major 1 C Major 2 * F Major 1. * Two chorales are provided for these common keys. The second chorale in each key is a transposed version of a later chorale in a more difficult key. ** These less common keys employ the same chorale for enharmonically equivalent keys. (D> and Cl, G? and Fi, Band C). No “artificial” keys are employed (i.e. Dt Major for Eb saxophones in the concert key of F4). 10310124 ~~ eam nn ~anamen eRe RTae Goats or Sounp TRAINING (ewe The goal of SOUND TRAINING is the development of the various abilities affecting quality of ensemble sound: a) fone quality: the ability to produce the idiomatic timbre of the mature instrumentalist—tichness, warmth, body; ») balance: the ability to adjust the dynamic level of each tone to form a unified chordal sonority; ¢) blend: the ability to adjust the timbre of tones to form a cohesive ensemble sonority; 4) intonation; the ability to adjust the pitch of each tone to match unisons and octaves and to adjust fifths, thirds and sevenths to produce harmonic structures possessing maximum sonority. In addition, performance of the chorales can assist development of: ¢).rhythmic ensemble: the ability to adjust the timing and style of articulation to form unison attacks and releases; f).musical expression: the ability to produce a broad “sostenuto” style, to shape phrases and provide line and direction to individual voices. Qua.ity Or Sounp Anp Harmonic INTONATION ‘The fundamental law of intonation is the acoustical principle of the harmonic series. All tones other than sine waves consist of a fundamental pitch and various overtones. TABLE L: Harmonic Series of A-110 Hz, (first 8 frequencies) 6 oe a 2. 1c 2 2 + oo = . x Os ALLO A220, E330 A440, chss0 E660 G70 A880 octave fifth octave third fifth seventh octave 10310124 1aa Beats, Resuctant Tones AND BEATLESS INTERVALS « Beats are produced whenever two unison tones do not perfectly match in frequency. The sound waves do not, merge, but instead “beat against” each other. Beats are also produced when intervals are not precisely tuned, But when intervals and chords are tuned to correspond with the exact frequencies of the harmonic series pure “beatles” € intervals are produced. The pitches seem to merge into a single identity of perfect consonance: the “chord of nature”. The sonority of these chords is powerfully enhanced by the phenomenon of the “resultant” tone. This law € of physics states simply: ‘When two tones are sounded simultaneously, a third (resultant) tone is produced. The frequency of the resultant € tone is the arithmetic difference of the two original frequencies. i ‘When any two frequencies of the harmonic series above are sounded together the resultant tone is another frequency already present in the series. A perfectly tuned A major triad, for example, consists of the following ratios of the frequencies and the resultant tones: € [i € oI € TABLE 2: A major triad frequencies and resultant tones € ‘550 660 660 : € _———SSe = frequency: 440. 440 550 € ratio; 4:5 46 ‘5:6 « € SSS resultant tone: 110 220 110 cf € € € € € 10310124 2 4 €ESSENTIALS OF HARMONIC INTONATION ‘The difference in frequency between two tones a half step apart varies depending on the range of the interval. High register semitones have more frequencies between them than do low register intervals. Acousticians refer to any semitone as a frequency difference of 100 percent, or cents. Equal temperament, the system of tuning which is used for pianos, guitars and percussion instruments, has many differences in tuning when compared with the har- monic series, Tuning chord tones to the equal temperament system produces resultant tones which are out of tune with the chord tones themselves (beats). ‘To maximize the presence of resultant tones which are in tune with the chord tones (beatless intervals) use the following rules: 1) tune all roots to equal temperament. 2) tune all major thirds 14 cents lower than equal temperament. 3) raise all perfect fifths 2 cents. 4) raise all minor thirds 16 cents. ‘The necessary adjustment of thirds is marked on each of the chord progressions and chorales of this collection. aS? MINOR 34 4 +16<-= MAJOR 3 ¥-M<- v ROOT=0 ROOT=0 10310124 3wer ewrwr were weuwewrwerwerwewywrverwruwrrwrwrweweyrr errr er C MAJOR (@ MAJOR) i 10310124C MAJOR (D MAJOR) 2 5 rost0124wwe wewrvrwrwrwerwwewerwrwrwrrerwrwrvrwrvrwrerwrwrrwrrwrrvr F MAJOR (G MAJOR) i 10310124F MAJOR (G MAJOR) 2 10310124 7weer wvwerwrwuwewrwrwrwrwrwrerwrwewvewvrwrwrrwryrerwrw ree GILG : ; ¢ G MAJOR (A MAJOR) 10010124Bb MAJOR (C MAJOR) 1 9 tosi0124weer wvwrwrwerwewrwrwrwrw wr wrwrerwrwrwrwrwrwyeryrvwrwer weve 10 Bb MAJOR (C MAJOR) 2 wos1014D MAJOR (E MAJOR) n tos10124~ ewe ewewer wwe wwe rrr we UV mT re M3 > ¢ 2 Eb MAJOR (F MAJOR) 1 10310124E> MAJOR (F MAJOR) 2 ‘ 13 tost012414 A MAJOR (B MAJOR) 10310124Ab MAJOR (Bb MAJOR) 15 tosto124E MAJOR (Fi MAJOR) 16 toa10124D> MAJOR (Eb MAJOR) W tos10124ww ewrwrwrwrwrvrwewrwrererwrwrwrwrerwrwrvrerwrervrrre B MAJOR (C# MAJOR) 18 10310124Gb MAJOR (Ab MAJOR) Es 19 10310124wer rere rrr wrwrwrerwrwrerwrwrrrrwrerwrwrwrr erry Ye a 20 F# MAJOR (Ab MAJOR) aea10124; Cb MAJOR (Db MAJOR) Perera eters tos10124 2C# MAJOR (Eb MAJOR) we weer wewewrwrwrvrwewerwrwrerrrvrerwr errr rrr ms 2 10310124A MINOR (BB as 23 osi0124fod let tre ae rede ee ete ecard eerie ee D MINOR (E MINOR) 1os19124E MINOR (Fi MINOR) d @ E 3 eeea 419 419) wai0124 iweer wrwewrwrerwerrerwrwrwrwrwrwrrrrwreryryrwrer rrr ¢ ® | 3) G MINOR (A MINOR) 10310124tosi0124 B MINOR (C# MINOR) o 7 3 6 t + Ss owe ewww wrwrwrwrwrwrwrwrwerwrwrewrwerwrewrerwrwrwyrrw~, 7 ® 2 6 C MINOR (D MINOR) tos10124F MINOR (G MINOR) ® Ee 3 6 7 + W310124 + iweer rwrwrwrwrerwewrwrwrvwrwrwrwrvwrwrerwrwrererwewrrw re