SOUND TRAINING: TWENTY-SIX CHORALES OF J.S. BACH A Cotzection or InstructionaL CuorALes AND Supprementary Mareriats Prayasce By any Comaination or Instruments arranged by WAYNE GORDER C TREBLE CLEF BK-1B Lp co. ‘57 EAST t40th STREET CLEVELAND, OHIO 44110-1899,weewrewevruewvwwewvwvwveeerewrwrwwrvwerwrvrerwrwrerr rereC Tresce CLer 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 Features Or Tris COLLECTION 1) Includes chorales in all major keys and seven minor keys; two chorales for four common keys. 2) Playable by any combination of instruments- -four like instruments through any large ensemble, 3) Soprano, alto, tenor and bass (SATB) voices present on all parts. 4) Chorales are simple, non-flotid and emphasize harmonic structure. SPECIAL SUPPLEMENTARY INSTRUCTIONAL MATERIAL 5) Scale and I-1V-V-I chord progression with each chorale. 6) Harmonic intonation adjustments for incteasing tonal sonority are indicated in the score and in each part. ascap 1 Copyright 1985 by Ludwig Music Pubehing Co. no, Coveland, Ohio 44110-1998. Printea Thtematonel Copyright Secured. ALL RIGHTS RESERVED including public performances for prof i ‘Any copying, arranging or deptng ofthis work witout the ownar’s consent an iningament of te copyright. USA BK-71-BTABLE OF CONTENTS ‘The Goals of SOUND TRAINING : Quality of Sound and Harmonic Intonation Beats” and Resultant Tones Essentials of Harmonic Intonation C Major 1 .. C Major 2 * F Major 1 F Major 2 * G Major . Bb Major 1. BP Major 2. D Major . Eb Major 1 Eb Major 2 ‘A Major Ab Major * 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. (Db and C4, Gb and FA, B and C), No “artificial” keys are employed (i.e. D# Major for E? saxophones in the concert key of Fb), BK-71.B ~ CHL HE aL HR eit \THE GOALS oF SouND TRAINING 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—richness, warmth, body; b) balance: the ability to adjust the dynamic level of each tone to form a unified chordal sonority; c) 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: ©zhythmic ensemble: the abi releases; y to adjust the timing and style of articulation to form unison attacks and musical expression: the ability to produce a broad “sostenuto” style, to shape phrases and provide line ‘and direction to individual voices. Qua.iry Or Sounp And 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 I: Harmonic Series of A-110 Hz, (first 8 frequencies) oe ny ~ a 2 a SS 6 Alld A220 £330 A440 ch550. E660 G770 A880 octave fifth octave third fifth seventh octave BK-71-B 1BEats, ResuLrant 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. Beals 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 “beatless” 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. tone is the arithmetic difference of the two original frequencies. |. The frequency of the resultant 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 frequencies, ratios of the frequencies and the resultant tones: TABLE 2: A major triad frequencies and resultant tones 550 660 660 frequency: 440 440 550 ratio: 4:5 46 56 resultant tone: 110 220 110 BK-71-B 2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 seties. 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. 1 42 MAJOR 3" MINOR 3" SS ¥-14< = Roor 4 +16< - == o BK-7L-BBKBBKF MAJOR 1 BK-7LBBKB 7KBBb MAJOR 1 BKB 9Bb MAJOR 2 10 BKBBKBwewrwrwrweweveuewrewrerwrwrer errr ererwerwrrwrr errr 12 Eb MAJOR 1 BKBEb MAJOR 24 BKBAb MAJOR BKB 15BKBD> MAJORwewwrwrerwrwrvewewrerwvrwrwrererrwrerwrwrwrwrreryrwrerwre 18 B MAJOR BKB19 BKBweer w wer wrvwwe we F} MAJOR 20 BKTLBBKB 24ci MAJOR 22 BKBA MINOR BKB 23D MINOR BKBE MINOR BKB 2swere wwe wrwrwurwrwrwrwrwrwrwrwrwrwrwvrrwrwewrer rere eww wy G MINOR BKBBKB B MINOR 2 wh @ 2www www ww www wwerwwewwwwwrwrww weer wrwurwewe CO) & C MINOR BKBF MINOR a BKB 29wer rer rr rrr rrr ewer were ewww eww