114 Sight Singing Assignment

Chromatic Tones and Far-Flung Modulations

In the first excerpt, Beethoven enharmonically respells G-flat as F-sharp to modulate from A-flat major to the very far-flung key of C major. (The asterisk shows where to change your solfege.)

Ludwig van Beethoven, Symphony No. 5 Op. 67, II.

In Schubert’s well-known lied “Sehnsucht,” a respelling of me from the original key transforms into sol of the distant new key. (Change solfege at the asterisk.)

Franz Schubert, “Sehnsucht” D. 516

The next example doesn’t require you to modulate. However, it contains several chromatic tones that are quite tricky to sing. These chromatic tones function as embellishments to the melody without actually disrupting the diatonic harmony. As you approach the chromatic tone, audiate the diatonic tone that comes after it as a “goal” to keep you on track. This use of accented dissonance is highly characteristic of Brahms’s melodic style.

Johannes Brahms, Clarinet Trio Op. 114, III.

Duet

Joseph Haydn, String Quartet Op. 76 No. 1, I.