Music for Sight Singing

Front Cover
Title Page
Copyright Page
Contents
Preface
In Memoriam
Acknowledgments
Part I Melody: Diatonic Intervals Rhythm: Division of the Beat
	1. Rhythm: Simple Meters; The Beat and Its Division into Two Parts
		Rhythmic Reading
			Section 1 (R). The quarter note as the beat unit. Beat-note values and larger only
			Section 2 (R). The quarter note as the beat unit and its division. Dotted notes and tied notes
			Section 3 (R). Two-part drills
			Section 4 (R). Note values other than the quarter note as beat values
			Section 5 (R). Two-part drills
	2. Melody: Stepwise Melodies, Major Keys Rhythm: Simple Meters; The Beat and Its Division into Two Parts
		Sight Singing
			Section 1. Major keys, treble clef, the quarter note as the beat unit. Key signatures with no more than three sharps or three flats
			Section 2. Bass clef
			Section 3. Other meter signatures
			Section 4. Duets
			Section 5. Structured improvisation
	3. Melody: Leaps within the Tonic Triad, Major Keys Rhythm: Simple Meters
		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
		Section 2. Bass clef
		Section 3. Leaps of a sixth within the tonic triad
		Section 4. The half note and the eighth note as beat units
		Section 5. Duets
		Section 6. Key signatures with five, six, and seven sharps or flats
		Section 7. Structured improvisation
	4. Melody: Leaps within the Tonic Triad, Major Keys Rhythm: Compound Meters; The Beat and Its Division into Three Parts
		Section 1 (R). Rhythmic reading: The dotted quarter note as the beat unit. Single lines and two-part drills
		Section 2. Sight singing: Major keys, treble clef; the dotted quarter note as the beat unit
		Section 3. Sight singing: Bass clef
		Section 4 (R). Rhythmic reading: The dotted half note and the dotted eighth note as beat units, including two-part drills
		Section 5. Sight singing: The dotted half note and dotted eighth note as beat units
		Section 6. Duets
		Section 7. Structured improvisation
	5. Melody: Minor Keys; Leaps within the Tonic Triad Rhythm: Simple and Compound Meters
		Section 1. Melodies not including 6 and 7
		Section 2. Melodies including descending ↓6 and ascending ↑7
		Section 3. Melodies including ascending ↑6 and descending ↓7
		Section 4. Melodies including less common uses of 6 and 7
		Section 5. Duets
		Section 6. Structured improvisation
	6. Melody: Leaps within the Dominant Triad (V); Major and Minor Keys Rhythm: Simple and Compound Meters
		Section 1. Leaps of a third within the V triad; major keys; simple meters
		Section 2. Leaps of a third within the V triad; minor keys; simple meters
		Section 3. Leaps of a fourth and fifth within the V triad; major and minor keys; simple meters
		Section 4. Leaps of a sixth within the V triad; simple meters
		Section 5. Compound meters; various leaps within the V triad
		Section 6. Numerator of 3, compound meters
		Section 7. Duets
		Section 8. Structured improvisation
	7. The C clefs Alto and Tenor Clefs
		Section 1. The alto clef
		Section 2. The tenor clef
		Section 3. Duets
		Section 4. Additional practice in the C clefs
		Section 5. Structured improvisation
	8. Melody: Further Use of Diatonic Leaps Rhythm: Simple and Compound Meters
		Section 1. Melodies outlining the IV or ii triad
		Section 2. Leaps to specific scale degrees
		Section 3. Other leaps of a third
		Section 4. Larger leaps involving 2, 4, and 6
		Section 5. Additional practice with consonant diatonic leaps
		Section 6. Bass lines
		Section 7. Duets
		Section 8. Structured improvisation
	9. Melody: Leaps within the Dominant Seventh Chord (V7); Other Diatonic Seventh Leaps Rhythm: Simple and Compound Meters
		Section 1. The complete dominant seventh chord
		Section 2. The leap of a minor seventh within the V7 chord
		Section 3. The leap of a tritone within the V7 chord
		Section 4. Other diatonic seventh leaps
		Section 5. Structured improvisation
Part II Melody: Diatonic Intervals Rhythm: Subdivision of the Beat
	10. Rhythm The Subdivision of the Beat: The Simple Beat into Four Parts, The Compound Beat into Six Parts
		Rhythmic Reading, Simple Meters
			Section 1 (R). Preliminary exercises, simple meters
			Section 2 (R). Rhythmic reading exercises in simple meters
			Section 3 (R). Two-part drills, simple meters
		Rhythmic Reading, Compound Meters
			Section 4 (R). Preliminary exercises, compound meters
			Section 5 (R). Rhythmic reading exercises in compound meters
			Section 6 (R). Two-part drills, compound meters
	11. Melody: Leaps within the Tonic and Dominant Triads Rhythm: Subdivision in Simple and Compound Meters
		Section 1. Single-line melodies and duets
		Section 2. Structured improvisation
	12. Melody: Further Use of Diatonic Leaps Rhythm: Subdivision in Simple and Compound Meters
		Section 1. Melodies outlining the IV or ii triad
		Section 2. Leaps to 4 and 6
		Section 3. Leaps of a seventh or tritone within the V7 chord
		Section 4. Other melodic dissonances
		Section 5. Additional practice with consonant diatonic leaps
		Section 6. Structured improvisation
Part III Melody: Chromaticism Rhythm: Further Rhythmic Practices
	13. Rhythm and Syncopation Melody:
		Rhythmic Reading
			Section 1 (R). Syncopation in simple meters at the beat or beat division level
			Section 2 (R). Syncopation in compound meters at the beat or beat division level
			Section 3 (R). Two-part drills
			Section 4 (R). Syncopation at the beat subdivision level in simple meters
			Section 5 (R). Syncopation at the beat subdivision level in compound meters
			Section 6 (R). Two-part drills
		Sight Singing
			Section 7. Syncopation in simple meters at the beat or beat division level
			Section 8. Syncopation in compound meters at the beat or beat division level
			Section 9. Syncopation at the beat subdivision level in simple and compound meters
			Section 10. Duets
			Section 11. Structured improvisation
	14. Rhythm and Triplet Division of Undotted Note Melody: Values; Duplet Division of Dotted Note Values
		Rhythmic Reading
			Section 1 (R). Triplet division of undotted note values
			Section 2 (R). Duplet division of dotted note values
			Section 3 (R). Two-part drills
		Sight Singing
			Section 4. Triplet division of undotted note values
			Section 5. Duplet division of dotted note values
			Section 6. Duets
			Section 7. Structured improvisation
	15. Melody: Chromaticism (I): Chromatic Embellishing Tones; Tonicizing the Dominant; Modulation to the Key of the Dominant or the Relative Major
		Section 1. Chromatic notes in the context of stepwise motion
		Section 2. Chromatic notes approached or left by leap
		Section 3. Tonicization of V in major keys
		Section 4. Tonicization of III and modulation to the relative major from minor keys
		Section 5. Modulation to the dominant from major keys
		Section 6. Modulation to the dominant from minor keys
		Section 7. Duets
		Section 8. Structured improvisation
	16. Melody: Chromaticism (II): Tonicization of Any Diatonic Triad; Modulation to Any Closely Related Key
		Section 1. Brief tonicizations of any diatonic triad with no modulation
		Section 2. Extended tonicizations
		Section 3. Tonicization with modulation only to the dominant or relative major key
		Section 4. Modulation to any closely related key
		Section 5. Successive modulations among closely related keys
		Section 6. Additional practice with tonicization and modulation
		Section 7. Duets
		Section 8. Structured improvisation
	17. Rhythm and Melody: Changing Meter Signatures; The Hemiola; Less Common Meter Signatures
		Rhythmic Reading
			Section 1 (R). Definitions and rhythmic reading exercises
		Sight Singing
			Section 2. Changing meter signatures
			Section 3. The hemiola
			Section 4. Meters of 5 and 7, and other meters
			Section 5. Structured improvisation
	18. Rhythm and Melody: Further Subdivision of the Beat; Notation in Slow Tempi
		Section 1 (R). Rhythmic reading
		Section 2. Sight singing
		Section 3. Structured improvisation
	19. Melody Chromaticism (III): Additional Uses of Chromatic Tones; Remote Modulation
		Section 1. Mode mixture
		Section 2. Augmented-sixth chords
		Section 3. The Neapolitan sixth
		Section 4. Chromatic tones in less common intervals
		Section 5. Remote modulation
		Section 6. Structured improvisation
Part IV The Diatonic Modes and Recent Music
	20. Melody The Diatonic Modes
		Section 1. Folk music
		Section 2. Composed music
		Section 3. Structured improvisation
	21. Rhythm and Melody: The Twentieth and Twenty-First Centuries
		Section 1 (R). Meter and rhythm. Rhythmic reading
		Section 2. Extensions of the traditional tonal system
		Section 3. Symmetrical collections; the whole-tone and octatonic scales
		Section 4. Freely post-tonal melodies; twelve-tone melodies
		Section 5. Duets
		Section 6. Structured improvisation
Appendix A: Rhythm Solmization
Appendix B: Pitch Solmization
Appendix C: Musical Terms
Back Cover