Music for Sight Singing

Cover......Page 1
Title Page......Page 2
Copyright Page......Page 3
CONTENTS......Page 4
PREFACE......Page 11
IN MEMORIAM......Page 14
ACKNOWLEDGMENTS......Page 16
  RHYTHMIC READING......Page 18
  Section 1 (R). The quarter note as the beat unit. Beat-note values and larger only......Page 20
  Section 2 (R). The quarter note as the beat unit and its division. Dotted notes and tied notes......Page 21
  Section 3 (R). Two-part drills......Page 23
  Section 4 (R). Note values other than the quarter note as beat values......Page 24
  Section 5 (R). Two-part drills......Page 27
  SIGHT SINGING......Page 29
  Section 1. Major keys, treble clef, the quarter note as the beat unit. Key signatures with no more than three sharps or three flats......Page 30
  Section 2. Bass clef......Page 33
  Section 3. Other meter signatures......Page 35
  Section 4. Duets......Page 37
  Section 5. Structured improvisation......Page 39
  RHYTHM: Simple Meters......Page 41
  Section 1. Major keys, treble clef, leaps of a third, fourth, fifth, and octave within the tonic triad. The quarter note as the beat unit......Page 43
  Section 2. Bass clef......Page 48
  Section 3. Leaps of a sixth within the tonic triad......Page 50
  Section 4. The half note and the eighth note as beat units......Page 52
  Section 5. Duets......Page 54
  Section 6. Key signatures with five, six, and seven sharps or flats......Page 57
  Section 7. Structured improvisation......Page 60
  RHYTHM: Compound Meters; The Beat and Its Division into Three Parts......Page 61
  Section 1 (R). Rhythmic reading: The dotted quarter note as the beat unit. Single lines and two-part drills......Page 62
  Section 2. Sight singing: Major keys, treble clef; the dotted quarter note as the beat unit......Page 66
  Section 3. Sight singing: Bass clef......Page 69
  Section 4 (R). Rhythmic reading: The dotted half note and the dotted eighth note as beat units, including two-part drills......Page 73
  Section 5. Sight singing: The dotted half note and dotted eighth note as beat units......Page 75
  Section 6. Duets......Page 77
  Section 7. Structured improvisation......Page 79
  RHYTHM: Simple and Compound Meters......Page 81
  Section 1. Simple meters......Page 83
  Section 2 Compound meters......Page 89
  Section 3. Duets......Page 92
  Section 4. Structured improvisation......Page 95
  RHYTHM: Simple and Compound Meters......Page 96
  Section 1. Leaps of a third within the V triad; major keys; simple meters......Page 98
  Section 2. Leaps of a third within the V triad; minor keys; simple meters......Page 100
  Section 3. Leaps of a fourth and fifth within the V triad; major and minor keys; simple meters......Page 103
  Section 4. Leaps of a sixth within the V triad; simple meters......Page 107
  Section 5. Compound meters; various leaps within the V triad......Page 108
  Section 6. Numerator of 3, compound meters......Page 110
  Section 7. Duets......Page 112
  Section 8. Structured improvisation......Page 115
 7 THE C CLEFS: Alto and Tenor Clefs......Page 117
  Section 1. The alto clef......Page 118
  Section 2. The tenor clef......Page 123
  Section 3. Duets......Page 126
  Section 4. Additional practice in the C clefs......Page 128
  Section 5. Structured improvisation......Page 129
  RHYTHM: Simple and Compound Meters......Page 130
  Section 1. Single-line melodies......Page 131
  Section 2. Bass lines......Page 144
  Section 3. Duets......Page 146
  Section 4. Structured improvisation......Page 148
  RHYTHM: Simple and Compound Meters......Page 150
  Section 1. The complete dominant seventh chord......Page 151
  Section 2. The leap of a minor seventh within the V[sup(7)] chord......Page 153
  Section 3. The leap of a tritone within the V[sup(7)] chord......Page 156
  Section 4. Other diatonic seventh leaps......Page 160
  Section 5. Structured improvisation......Page 162
  Section 1 (R). Preliminary exercises, simple meters......Page 163
  Section 2 (R). Rhythmic reading exercises in simple meters......Page 164
  Section 3 (R). Two-part drills, simple meters......Page 167
  Section 4 (R). Preliminary exercises, compound meters......Page 168
  Section 5 (R). Rhythmic reading exercises in compound meters......Page 170
  Section 6 (R). Two-part drills, compound meters......Page 173
  Section 1. Single-line melodies and duets......Page 176
  Section 2. Structured improvisation......Page 184
  Section 1. Diatonic leaps except the seventh and tritone......Page 186
  Section 2. Leaps of a seventh or tritone within the V[sup(7)] chord......Page 197
  Section 3. Other melodic dissonances......Page 201
  Section 4. Structured improvisation......Page 204
 13 RHYTHM and MELODY: Syncopation......Page 205
  Section 1 (R). Syncopation in simple meters at the beat or beat division level......Page 206
  Section 2 (R). Syncopation in compound meters at the beat or beat division level......Page 207
  Section 3 (R). Two-part drills......Page 208
  Section 4 (R). Syncopation at the beat subdivision level in simple meters......Page 210
  Section 5 (R). Syncopation at the beat subdivision level in compound meters......Page 211
  Section 6 (R). Two-part drills......Page 212
  Section 7. Syncopation in simple meters at the beat or beat division level......Page 213
  Section 8. Syncopation in compound meters at the beat or beat division level......Page 219
  Section 9. Syncopation at the beat subdivision level in simple and compound meters......Page 221
  Section 10. Duets......Page 226
  Section 11. Structured improvisation......Page 228
 14 RHYTHM and MELODY: Triplet Division of Undotted Note Values; Duplet Division of Dotted Note Values......Page 229
  Section 1 (R). Triplet division of undotted note values......Page 230
  Section 2 (R). Duplet division of dotted note values......Page 233
  Section 3 (R). Two-part drills......Page 234
  Section 4. Triplet division of undotted note values......Page 236
  Section 5. Duplet division of dotted note values......Page 241
  Section 6. Duets......Page 245
  Section 7. Structured improvisation......Page 246
  Section 1. Chromatic notes in the context of stepwise motion......Page 248
  Section 2. Chromatic notes approached or left by leap......Page 252
  Section 3. Tonicization of V in major keys......Page 255
  Section 4. Tonicization of III and modulation to the relative major from minor keys......Page 262
  Section 5. Modulation to the dominant from major and minor keys......Page 267
  Section 6. Duets......Page 277
  Section 7. Structured improvisation......Page 279
  Section 1. Tonicization of any diatonic triad; modulation only to the dominant or relative major key......Page 280
  Section 2. Modulation to any closely related key......Page 297
  Section 3. Duets......Page 307
  Section 4. Structured improvisation......Page 311
  Section 1 (R). Definitions and rhythmic reading exercises......Page 313
  Section 2. Changing meter signatures......Page 317
  Section 3. The hemiola......Page 322
  Section 4. Meters of 5 and 7, and other meters......Page 326
  Section 5. Structured improvisation......Page 333
 18 RHYTHM and MELODY: Further Subdivision of the Beat; Notation in Slow Tempi......Page 335
  Section 1 (R). Rhythmic reading......Page 336
  Section 2. Sight singing......Page 338
  Section 3. Structured improvisation......Page 346
  Section 1. Chromatic tones in less common intervals......Page 347
  Section 2. The Neapolitan sixth......Page 355
  Section 3. Remote modulation......Page 361
  Section 4. Structured improvisation......Page 369
 20 MELODY: The Diatonic Modes......Page 371
  Section 1. Folk music......Page 372
  Section 2. Composed music......Page 380
  Section 3. Structured improvisation......Page 388
  Section 1 (R). Meter and rhythm. Rhythmic reading......Page 389
  Section 2. Extensions of the traditional tonal system......Page 392
  Section 3. Symmetrical collections; the whole-tone and octatonic scales......Page 404
  Section 4. Freely post-tonal melodies; twelve-tone melodies......Page 410
  Section 5. Duets......Page 415
  Section 6. Structured improvisation......Page 421
APPENDIX A: RHYTHM SOLMIZATION......Page 423
APPENDIX B: PITCH SOLMIZATION......Page 426
APPENDIX C: MUSICAL TERMS......Page 429