Music for Sight Singing

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ISBN: 9780131872349 | 0131872346
Cover: Spiral Bound
Copyright: 8/21/2006

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Using an abundance of meticulously organized melodies drawn from the literature of composed music and a wide range of the worldrs"s folk music, Ottman and Rogers provide the most engaging and comprehensive Sight Singing text on the market.Arranging its 21 chapters to study both pitch and rhythm, this book presents melodies and over 1200 exercises that enable readers to develop the skills of reading pitch, reading rhythm, and combining these two essential elements. The Seventh Edition contains 30% more rhythmic exercises and new structured improvisation exercises. For professionals with a career in music, music education, and composition.

PREFACE

xiii

IN MEMORIUM

xvii

ACKNOWLEDGMENTS

xix

PART I

MELODY: DIATONIC INTERVALS

RHYTHM: DIVISION OF THE BEAT

RHYTHM: Simple Meters; the Beat and Its Division into Two Parts

(11)

RHYTHMIC READING

(1)

Section 1 (R). The quarter note as the heat unit. Beat-note values and larger only,

(1)

Section 2 (R). The quarter note as the beat unit and its division. Dotted notes and tied notes,

(1)

Section 3 (R). Two-part drills,

(1)

Section 4 (R). Note values other than the quarter note as beat values, 7 Sections (R). Two-part drills,

(2)

MELODY: Stepwise Melodies, Major Keys

RHYTHM: Simple Meters; the Beat and Its Division into Two Parts

(13)

SIGHT SINGING,

(1)

Section 1. Major keys, treble clef, the quarter note as the beat unit. Key signatures with no more than three sharps or three flats,

(1)

Section 2. Bass clef,

(1)

Section 3. Other meter signatures,

(1)

Section 4. Duets,

(1)

Section 5. Structured improvisation,

(2)

MELODY: Intervals from the Tonic Triad, Major Keys

RHYTHM: Simple Meters

(21)

Section 1. Major keys, treble clef, intervals of the third, fourth, fifth, and octave from the tonic triad. The quarter note as the beat unit,

(5)

Section 2. Bass clef,

(2)

Section 3. Interval of the sixth; minor sixth, A up to and major sixth, g up to 3, or descending,

(2)

Section 4. The half note and the eighth note as beat units,

(2)

Section 5. Duets,

(3)

Section 6. Key signatures with five, six, and seven sharps or flats,

(4)

Section 7. Structured improvisation,

(1)

MELODY: Intervals from the Tonic Triad, Major Keys

RHYTHM: Compound Meters; the Beat and Its Division into Three Parts

(20)

Section 1 (R). Rhythmic reading: The dotted quarter note as the beat unit. Single lines and two-part drills,

(4)

Section 2. Sight singing: Major keys, treble clef; the dotted quarter note as the beat unit,

(3)

Section 3. Sight singing: Bass clef,

(4)

Section 4 (R). Rhythmic reading: The dotted half note and the dotted eighth note as beat units, including two-part drills,

(2)

Section 5. Sight singing: The dotted half note and dotted eighth note as beat units,

(2)

Section 6. Duets,

(2)

Section 7. Structured improvisation,

(2)

MELODY: Minor Keys; Intervals from the Tonic Triad

RHYTHM: Simple and Compound Meters

(14)

Section 1. Simple meters,

(5)

Section 2. Compound meters,

(2)

Section 3. Duets,

(3)

Section 4. Structured improvisation,

(2)

MELODY: Intervals from the Dominant (V)Triad; Major and Minor Keys

RHYTHM: Simple and Compound Meters

(20)

Section 1. Intervals of the third from the V triad; major keys; simple meters,

(2)

Section 2. Intervals of the third from the V triad; minor keys; simple meters,

(2)

Section 3. Intervals of the fourth and fifth from the V triad; major and minor keys; simple meters,

(5)

Section 4. Interval of the sixth from the V triad; simple meters,

(1)

Section 5. Compound meters; various intervals from the V triad,

(2)

Section 6. Numerator of three, compound meters,

(1)

Section 7. Duets,

(4)

Section 8. Structured improvisation,

(1)

THE C CLEFS: Alto and Tenor Clefs

100

(12)

Section 1. The alto clef,

101

(5)

Section 2. The tenor clef,

106

(4)

Section 3. Additional practice in the C clefs,

110

(2)

MELODY: Further Use of Diatonic Intervals

RHYTHM: Simple and Compound Meters III

Section 1. Single-line melodies,

112

(13)

Section 2. Duets,

125

(2)

Section 3. Structured improvisation,

127

(2)

MELODY: Intervals from the Dominant Seventh Chord (V7); Other Diatonic Intervals of the Seventh

RHYTHM: Simple and Compound Meters

129

(13)

Section 1. The complete dominant seventh chord,

130

(1)

Section 2. The interval of the minor seventh: 5 up to 4 or reverse,

131

(4)

Section 3. The interval of the tritone,

135

(4)

Section 4. Other uses of diatonic intervals of the seventh,

139

(2)

Section 5. Structured improvisation,

141

(1)

PART II

MELODY: DIATONIC INTERVALS

RHYTHM: SUBDIVISION OF THE BEAT

RHYTHM: The Subdivision of the Beat: the Simple Beat into Four Parts, the Compound Beat into Six Parts

142

(13)

RHYTHMIC READING, SIMPLE METERS,

142

(1)

Section 1 (R). Preliminary exercises, simple meters,

143

(1)

Section 2 (R). Rhythmic reading exercises in simple meters,

143

(1)

Section 3 (R). Two-part drills, simple meters,

146

(1)

RHYTHMIC READING, COMPOUND METERS,

147

(1)

Section 4 (R). Preliminary exercises, compound meters,

148

(1)

Section 5 (R). Rhythmic reading exercises in compound meters,

149

(1)

Section 6 (R). Two-part drills, compound meters,

152

(3)

MELODY: Intervals from the Tonic and Dominant Triads

RHYTHM: Subdivision in Simple and Compound Meters

155

(10)

Section 1. Major keys,

155

(5)

Section 2. Minor keys,

160

(3)

Section 3. Structured improvisation,

163

(2)

MELODY: Further Use of Diatonic Intervals

RHYTHM: Subdivision in Simple and Compound Meters

165

(20)

Section 1. Diatonic intervals except the seventh and the tritone,

165

(12)

Section 2. The dominant seventh (V7) chord; intervals of the seventh and the tritone,

177

(5)

Section 3. Other uses of the interval of the seventh,

182

(1)

Section 4. Structured improvisation,

183

(2)

PART III

MELODY: CHROMATICISM

RHYTHM: FURTHER RHYTHMIC PRACTICES

MELODY: Chromaticism (I): Chromatic Nonharmonic Tones; the Dominant of the Dominant (V/V) Harmony; Modulation to the Key of the Dominant

185

(34)

Section 1. Chromatic nonharmonic tones. Augmented and diminished intervals created by their use,

185

(5)

Section 2. The secondary dominant chord, V/V or V7/V. Modulation from a major key to its dominant key,

190

(23)

Section 3. Duets,

213

(4)

Section 4. Structured improvisation,

217

(2)

MELODY: Chromaticism (II): Modulation to Closely Related Keys; Additional Secondary Dominant Harmonies

219

(30)

Section 1. Single-line melodies,

220

(17)

Section 2. Duets,

237

(10)

Section 3. Structured improvisation,

247

(2)

RHYTHM AND MELODY: Syncopation

249

(33)

RHYTHMIC READING,

250

(1)

Section 1 (R). Divided beat patterns in simple meters,

250

(1)

Section 2 (R). Divided beat patterns in compound meters,

251

(1)

Section 3 (R). Two-part drills,

252

(1)

Section 4 (R). Subdivided beat patterns in simple meters,

254

(1)

Section 5 (R). Subdivided beat patterns in compound meters,

255

(1)

Section 6 (R). Two-part drills,

256

(1)

SIGHT SINGING,

257

(1)

Section 7. Divided beat patterns in simple meters,

257

(1)

Section 8. Divided beat patterns in compound meters,

266

(1)

Section 9. Duets,

270

(1)

Section 10. Subdivided heat patterns in simple and compound meters,

275

(1)

Section 11. Structured improvisation,

281

(1)

RHYTHM AND MELODY: Triplet Division of Undotted Note Values; Duplet Division of Dotted NoteValues

282

(27)

RHYTHMIC READING,

283

(1)

Section 1 (R). Triplet division of undotted note values,

283

(1)

Section 2 (R). Duplet division of dotted note values,

286

(1)

Section 3 (R). Two-part drills,

287

(2)

SIGHT SINGING,

289

(1)

Section 4. Triplet division of undotted note values,

289

(1)

Section 5. Duplet division of dotted note values,

298

(1)

Section 6. Duets,

302

(1)

Section 7. Structured improvisation,

307

(2)

RHYTHM AND MELODY: Changing Meter Signatures; the Hemiola; Less Common Meter Signatures

309

(20)

RHYTHMIC READING,

309

(1)

Section 1 (R). Definitions and rhythmic reading exercises,

309

(4)

SIGHT SINGING,

313

(1)

Section 2. Changing meter signatures,

313

(1)

Section 3. The hemiola,

316

(1)

Section 4. Meters of 5 and 7, and other meters,

321

(1)

Section 5. Structured improvisation,

327

(2)

RHYTHM AND MELODY: Further Subdivision of the Beat; Notation in Slow Tempi

329

(32)

Section 1 (R). Rhythmic reading,

330

(2)

Section 2. Sight singing,

332

(8)

Section 3. Structured improvisation,

340

(1)

MELODY: Chromaticism (III): Additional Uses of Chromatic Tones; Remote Modulation

341

(1)

Section 1. Chromatic tones in less common intervals,

341

(5)

Section 2. The Neapolitan sixth,

346

(5)

Section 3. Remote modulation,

351

(9)

Section 4. Structured improvisation,

360

(1)

PART IV THE DIATONIC MODES AND TWENTIETH-CENTURY MUSIC

MELODY: The Diatonic Modes

361

(20)

Section 1. Folk music,

362

(8)

Section 2. Composed music,

370

(9)

Section 3. Structured improvisation,

379

(2)

RHYTHM AND MELODY: The Twentieth Century

381

(38)

Section 1 (R). Meter and rhythm. Rhythmic reading,

381

(3)

Section 2. Extensions of the traditional tonal system,

384

(16)

Section 3. Symmetrical collections; the whole-tone and octatonic scales,

400

(4)

Section 4. Freely post-tonal melodies; twelve-tone melodies,

404

(5)

Section 5. Duets,

409

(7)

Section 6. Structured improvisation,

416

(3)

APPENDIX: MUSICAL TERMS

419

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Music for Sight Singing

Summary

Author Biography

Table of Contents

Supplemental Materials