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 Third Edition, Revised & Enlarged

MARTA ARKOSSY GHEZZO

Preface by Mel Powell
 Solfege, Ear Training,
Rhythm, Dictation, and
Music Theory
. .v--
Marta Arkossy Ghezzo

Solfege, Ear Training,

Rhythm, Dictation, and
Music Theory
A Comprehensive Course

Third Edition

Preface by Mel Powell

The University of Alabama Press

Tuscaloosa
 Copyright © 2005
Marta Arkossy Ghezzo
All rights reserved

The paper on which this book is printed meets the minimum

requirements of American National Standard for Information
Science-Permanence of Paper for Printed Library Materials,
ANSI Z39.48-1984.

Music typesetting: Edward Schweibacher and Vincent Leonard

Recording and editing: Jong Suh Lee
Computer programming of music: Dimitris Mavrofidis
Master engineering: Gregory M. Rippin
Consultant: Robert Gerardi
Cover designer: Daniel Urban
Proofreader: Jonathan Lawrence
Typesetter: J. Jarrett Engineering, Inc.
Printer: Sheridan Books, Inc.
CD Producer: Discom Technologies

Library of Congress Cataloging-in-Publication Data

Ghezzo, Marta Arkossy.

Solfege, ear training, rhythm, dictation, and music theory:
a comprehensive course / Marta Arkossy Ghezzo ; preface by Mel Powell. — 3rd
p. cm.
Includes bibliographical references (p. ) and index.
ISBN 0-8173-5147-7 (pbk. : alk. paper)
1. Music theory. 2. Music—Instruction and study. 3. Sight singing.
4. Ear training. 5. Meter and rhythm. 6. Music dictation.
I. Title.
MT6.G474S6 2004 781—dc22
2004001103
To my students, whose
interest in learning
inspired this hook
'

,
Contents

Preface by Mel Powell ix

Acknowledgments xi

Introduction 1

Summation of Lesson Plans 7

PART ONE: The Tonal System 19

PART TWO: The Chromatic System 187

PART THREE: The Modal System 217

Section A: Pentatonic Scales (Modes) 219

Section B: Medieval Modes 232
Section C: Modern and Contemporary Modes 266
Whole-Tone Scale 266
Messiaen's Modes 272

PART FOUR: The Atonal System 293

"Free" Atonality 295

Serial Music 303
Aleatory Music 318

ADDENDUM: Exercises in the "C" Clefs 337

I. Alto Clef 339

II. Tenor Clef 347
III. Change of Clefs 355

Musical Examples 379

CD Dictations 413

Bibliography ' 433

Index to Musical Examples 435

Subject Index 439

 .

*'S

'

U
Preface

Enabling skills enable a musician to be a musician. They are the funda¬

mental ear, eye, and mind proficiencies, that covering point where singers,
instrumentalists, conductors, composers, and theoreticians all must en¬
counter one and the same set of things-to-be-mastered-first-of-all.
It may be that in principle virtually everyone can acquire at least modest
competency in the rudiments of music: an ability to hear astutely, to read
with some fluency, to understand elements and relations that make up
sonic structures. But in practice there's little evidence to indicate that this
is so. Nowadays not only among laymen and amateurs, but among music
students and even among so-called professional musicians, there is a nota¬
ble shortage of capabilities that once were taken for granted as sine qua non
components: the musician's prerequisite equipment.
But whatever may be darkly implied thereby, the present publication
seems resplendent. Of all possible prefatory blurbs, none is likely to be
more informative than this truth: Marta Ghezzo here provides a work that
works. I say this with confident knowledge because I've been a witness
during its many tests under fire: in classrooms populated by students of
distinctly different interests and levels of prior achievement. The results in¬
variably have seemed to me akin to miracle-making. As a particular ex¬
ample, I cite the case of a young soprano who at first—not atypically—was
scarcely able to decode the musical language of anything composed after
about 1860, but who, thanks to diligent exploration of the pages that fol¬
low, was soon aurally at home in Schonberg, Webern, and beyond, and
thereafter became a professional performer able to master even the newest
and most refractory compositions. Or, again, I recall the Ghanaian student
whose expert grasp of Western tonal systems was developed directly as a
consequence of this work with these materials. One needs no more per¬
suasive testimonials, I should think.
All that needs to be emphasized—and it is a point of incalculably great
significance—is that Marta Ghezzo has somehow managed to bring the
full power of a venerable teaching-learning art forward from Guido's tenth
century to our present moment, and to do so by broadening and deepening
approaches to both past and present musical vocabularies. Students and
teachers ought to line the avenues of approach and cheer this singular ac¬
complishment. For my own part, it's a pleasure to recommend a book that
responds so elegantly to so urgent a need.

MEL POWELL
Pulitzer Prize, 1990
 ,

'

■
Acknowledgments

The Third Edition was born from collaborations with many people who
inspired and supported me over the past decade.
I was fortunate to receive additional help from colleagues who had pre¬
viously worked on the Second Edition of the book. My deep gratitude goes
to Dr. Bonne August for the revision of the text of the manuscript and
valuable suggestions. The computer typesetting of the music notation with
revisions was demanding, and I am indebted to Edward Schweibacher and
Vincent Leonard for accomplishing this task. Their enthusiasm and skill
were an inspiration for me.
A special acknowledgment is made to Lehman College for the opportu¬
nity of doing research and field-testing for this edition. 1 am deeply in¬
debted to Dr. Bernard Shockett for the support extended to me over the
past decades.
This is the first time that I have had the opportunity to hear some of the
dictations performed on different instruments (as I originally wrote them),
and I am deeply grateful to the performers on the CDs of this edition:
Thomas L. Beyer, Michael Caputo, Cristine Ghezzo, Alan Hollander, Jong-
Jin Hong, Jack H. Hyatt, Suk-Hi Ki, Wendy Luck, Asya Meshberg, and
Duo-Lin Peng.
Completing the recording, editing, and master engineering of the two
CDs was a demanding task over a long period of time. I am grateful to Jong
Suh Lee for the recording/editing, and Gregory M. Rippin for master en¬
gineering of the CDs. Many thanks to Dimitris Mavrofidis for the computer
programming of Dictation 51.
Special thanks to Robert Gerardi, for spending a significant amount of
time proofreading the CD related materials, and for his most valuable com¬
ments as consultant to this project.
The field-testing was an important part of this edition, and I am grateful
to my students for participating in this task with great interest.
I deeply treasure the inspiration coming from the different parts of the
world where I have presented lectures based on the topics of this edition.
I am grateful for the support received from Dr. Dinos Constantinides (Loui¬
siana, Baton Rouge), Dr. Barbara Jazwinski (Tulane, New Orleans), Pro¬
fessor Marlaena Kessick (Belveglio, Italy), Professor Luigi Morleo (Bari),
Professor Paolo Musmeci (Milan), Professor Riccardo Santoboni (Rome),
Dr. Vladimir Scolnic, and Dr. Menachem Zur (Jerusalem). For the oppor¬
tunity to deliver master classes, my sincere thanks to the sponsors of the
Music Festivals in Todi, Gubbio, Molfetta (Italy), Constanza (Romania),
Helsinki (Finland), and Odessa (Ukraine).
Xll Acknowledgments

I am grateful for the suggestions that I received on various occasions

from Professor Doo-jin Ahn, Chien-Nien Chen, Dr. Gheorghe Costinescu,
Dr. Sylvia Eversole, Dr. Lawrence Ferrara, Peter McCulloch, Dr. Paola
Segurini, and Dr. Young Mi Ha.
I have received great support and encouragement from my family. My
dear daughter Christine's suggestions on various details are much valued;
moreover, her singing inspired me to write some of the solfeges included
in this volume. To Dinu, my deep gratitude for the many discussions on
musical and technical details, and for his involvement with various aspects
of the Third Edition. Their enthusiasm enabled me to accomplish this work.
I also wish to thank the staff of The University of Alabama Press for the
promotion of this book during the past decades, and for accomplishing the
production of the Third Edition in all its complexity.
For the use of excerpts included in the text and Musical Examples, special
acknowledgment is made to the following publishers:

Akademiai Kiado, Budapest

Associated Music Publishers, New York
Belwin Mills Publishing Corp., New York
Boosey and Hawkes Inc., New York
Breitkopf & Hartel, Wiesbaden
Broude Bros., New York
Aldo Bruzzichelli, Firenze
CPP/Belwin Inc., Florida
J. & W. Chester/Edition Wilhelm Hansen London Ltd.
Durand S. A.-Editions Musicales, Paris
Editura Didactica si Pedagogica, Bucuresti
Editura Muzicala a Uniunii Compositorilor, Bucuresti
Ernst Eulenburg Ltd., London
European American Music Corp., Pennsylvania
Carl Fischer Inc., New York
HarperCollins Publishers, Inc., New York
Harvard University Press, Cambridge
Heugel & Cie., Paris
Edwin F. Kalmus, New York
Lea Pocket Scores, New York
Alphonse Leduc & Cie., Paris
Leeds Music Corp., New York
MCA Music Inc., New York
McGraw-Hill Book Co., New York
Mills Music Inc., New York
Acknowledgments xm

Moeck Verlag, Celle

Nagels-Verlag, Kassel
C. F. Peters Corp., New York
Polskie Wydawnictwo Muzyczne, Krakow
Prentice-Hall, Inc., Englewood Cliffs
Theodore Presser Company, Pennsylvania
G. Ricordi & C. S.p.A., Milano
G. Schirmer, Inc., New York
Seesaw Music Corp., New York
Universal Edition A.G., Wien
Universal Edition, London
Universal Edition, Leipzig
 .

'

'

.
 Solfege, Ear Trainings
Rhythm, Dictation, and
Music Theory
.

■
Introduction

Overview

Professional understanding of a musical composition depends on the ex¬

tent of a musician's expertise in interrelated musical disciplines: solfege
(sight singing), dictation, harmony, counterpoint, form and analysis, or¬
chestration, and music history. Although each of these areas comprises a
particular specialization, theory, solfege, and dictation are the most fun¬
damental and develop the complex aptitudes of the student as to ear,
rhythm, musical memory, and sensitivity.
In the process of music training, it must be constantly held in mind that
at the present time, students are in touch with a contemporary music based
on atonality, serialism, aleatorism, graphic symbols, and other methods of
composition. It is only reasonable that they ask, "How can we understand
and perform this kind of music?"
The purpose of this book is to build a thorough foundation for under¬
standing, hearing, and performing music, starting from the tonal and pro¬
gressing to the chromatic, modal, and atonal systems in a step-by-step evo¬
lution from the simple to the complex.

Third Edition

During the past decades this book has had a successful journey in the
United States, Europe and Asia. The Italian translation by G. Ricordi
(Milan, 1985) has been adopted by several European conservatories. The
Korean translation was published by Eumag Chunchu Publications Co.
(Seoul, 2000).
The Third Edition is a revised and enlarged edition: some of the theo¬
retical subjects and a large number of solfeges, ear training, and rhythmic
exercises have been revised in order to accommodate students of different
levels; a number of new dictations have been added, while some of the old
ones have been revised; moreover, all the dictations have been released on
two CDs to accompany the book.
These revisions are the result of collaborations with many people who
have used this book, and I am grateful for their interest and genuine sup¬
port.
2 Introduction

Content Format
The multidimensional abilities of students are developed through in¬
struction in theoretical subjects, which are first emphasized in ear training
and rhythmic exercises, then enlarged in the solfeges, and finally rein¬
forced by dictation. This progression represents the sequence of explanation
included in each lesson—a manner of organizing these activities that per¬
mits the book to be used for individual student practice as well as for teach¬
ing purposes. Hence, the exercises are designed to involve the instructor
optionally.
The method embodied in this book has been tested extensively in the
classroom. From the very beginning, the students develop their musical
aptitudes through a well-organized process whereby they acquire a mas¬
tery of traditional techniques as well as an understanding of the phenom¬
ena that are currently evolving in contemporary music.
This book presents a concentrated yet thorough analysis of both tradi¬
tional and contemporary music theory, providing students with a versatile
musical background. In this way, later, as performers, composers, or musi¬
cologists, they will have reasonable criteria for preferences in repertoire
and style.
The ear training exercises represent an important part of each lesson and
involve the student in the process of correlating internal hearing with sing¬
ing and identifying pitches. These exercises advance step-by-step and allow
the student sufficient time to assimilate all new information.
The student's progressive development of a sense of rhythm is fostered
by the rhythmic exercises, which are based on the continuous addition of new
formulas to previously studied rhythmic patterns.
The solfege is presented as a synthesis of pitch and rhythm and is based
on the preceding ear training and rhythmic exercises. The solfeges in¬
cluded in this book have been carefully designed to permit the application
of any of the methods of articulation: alphabetical names, numbers, or the
"fixed do" and "movable do" systems based on syllables (do, re, mi, etc.).
The use of syllables is a technique that facilitates the pronunciation of
notes no matter how complicated their formulas or their applied system of
intonation. However, syllables are important only as a means of articula¬
tion. They have no power to determine the internal organization of sono¬
rous material, which can be tonal, chromatic, modal, or atonal.
The dictation, which is the final part of each lesson, reinforces all pre¬
vious activities. One of the most important aspects of music training, it
begins with the abstract perception of tones and results in concrete,
graphic representation.
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