Music for Sight Singing (8th Edition)

作者简介

MUSIC FOR SIGHT SINGING CONTENTS

PREFACE xiii

IN MEMORIAM xvii

ACKNOWLEDGMENTS xix

PART I

MELODY: DIATONIC INTERVALS

RHYTHM: DIVISION OF THE BEAT

1 RHYTHM: Simple Meters; the Beat and Its Division into Two Parts 1

RHYTHMIC READING 1

Section 1 (R). The quarter note as the beat unit. Beat-note values and

larger only, 3

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

notes and tied notes, 4

Section 3 (R). Two-part drills, 5

Section 4 (R). Note values other than the quarter note as beat values, 7

Section 5 (R). Two-part drills, 9

2 MELODY: Stepwise Melodies, Major Keys

RHYTHM: Simple Meters;The Beat and Its Division into Two Parts 12

SIGHT SINGING, 12

Section 1. Major keys, treble clef, the quarter note as the beat

unit. Key signatures with no more than three sharps

or three flats, 13

Section 2. Bass clef, 16

Section 3. Other meter signatures, 19

Section 4. Duets, 20

Section 5. Structured improvisation, 22

3 MELODY: Intervals from the Tonic Triad, Major Keys

RHYTHM: Simple Meters 24

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, 26

Section 2. Bass clef, 31

Section 3. Interval of the sixth; minor sixth, ˆ3 up to ˆ1, and major

sixth, ˆ5 up to ˆ3, or descending, 33

Section 4. The half note and the eighth note as beat units, 35

Section 5. Duets, 37

Section 6. Key signatures with five, six, and seven sharps or flats, 40

Section 7. Structured improvisation, 44

4 MELODY: Intervals from the Tonic Triad, Major Keys

RHYTHM: Compound Meters;The Beat and Its Division intoThree Parts 45

Section 1 (R). Rhythmic reading: The dotted quarter note as the beat

unit. Single lines and two-part drills, 46

Section 2. Sight singing: major keys, treble clef; the dotted quarter

note as the beat unit, 50

Section 3. Sight singing: Bass clef, 53

Section 4 (R). Rhythmic reading: The dotted half note and the dotted

eighth note as beat units, including two-part drills, 57

Section 5. Sight singing: The dotted half note and dotted eighth

note as beat units, 59

Section 6. Duets, 61

Section 7. Structured improvisation, 63

5 MELODY: Minor Keys; Intervals from the Tonic Triad

RHYTHM: Simple and Compound Meters 65

Section 1. Simple meters, 67

Section 2. Compound meters, 72

 Section 3. Duets, 74

Section 4. Structured improvisation, 77

6 MELODY: Intervals from the Dominant (V) Triad; Major

and Minor Keys

RHYTHM: Simple and Compound Meters 78

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

meters, 80

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

meters, 82

Section 3. Intervals of the fourth and fifth from the V triad; major

and minor keys; simple meters, 84

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

meters, 89

Section 5. Compound meters; various intervals from

the V triad, 90

Section 6. Numerator of 3, compound meters, 92

Section 7. Duets, 93

Section 8. Structured improvisation, 97

7 THE C CLEFS: Alto and Tenor Clefs 98

Section 1. The alto clef, 99

Section 2. The tenor clef, 104

Section 3. Additional practice in the C clefs, 107

Section 4. Structured improvisation, 108

8 MELODY: Further Use of Diatonic Intervals

RHYTHM: Simple and Compound Meters 110

Section 1. Single-line melodies, 111

Section 2. Bass lines, 112

Section 2. Duets, 124

Section 3. Structured improvisation, 125

9 MELODY: Intervals from the Dominant Seventh Chord (V7);

Other Diatonic Intervals of the Seventh

RHYTHM: Simple and Compound Meters 128

Section 1. The complete dominant seventh chord, 127

Section 2. The interval of the minor seventh: ˆ5 up to ˆ4 or

reverse, 128

Section 3. The interval of the tritone, 132

Section 4. Other uses of diatonic intervals of the seventh, 136

Section 5. Structured improvisation, 138

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 139

RHYTHMIC READING, SIMPLE METERS, 139

Section 1 (R). Preliminary exercises, simple meters, 139

Section 2 (R). Rhythmic reading exercises in simple meters, 140

Section 3 (R). Two-part drills, simple meters, 143

RHYTHMIC READING, COMPOUND METERS, 144

Section 4 (R). Preliminary exercises, compound meters, 145

Section 5 (R). Rhythmic reading exercises in compound meters, 146

Section 6 (R). Two-part drills, compound meters, 149

11 MELODY: Intervals from the Tonic and Dominant Triads

RHYTHM: Subdivision in Simple and Compound Meters 152

Section 1. Major keys, 152

Section 2. Minor keys, 157

Section 3. Structured improvisation, 160

12 MELODY: Further Use of Diatonic Intervals

RHYTHM: Subdivision in Simple and Compound Meters 162

Section 1. Diatonic intervals except the seventh and

the tritone, 162

Section 2. The dominant seventh (V7) chord; intervals of

the seventh and the tritone, 174

Section 3. Other uses of the interval of the seventh, 179

Section 4. Structured improvisation, 180

PART III

MELODY: CHROMATICISM

RHYTHM: FURTHER RHYTHMIC PRACTICES

13 MELODY: Chromaticism (I): Chromatic Nonharmonic Tones;

The Dominant of the Dominant (V/V) Harmony;

Modulation to the Key of the Dominant 182

Section 1. Chromatic nonharmonic tones. Augmented and

diminished intervals created by their use, 182

 Section 2. The secondary dominant chord, V/V or V7/V.

Modulation from a major key to its dominant key, 187

Section 3. Duets, 209

Section 4. Structured improvisation, 213

14 MELODY: Chromaticism (II): Modulation to Closely Related Keys;

Additional Secondary Dominant Harmonies 215

Section 1. Single-line melodies, 216

Section 2. Duets, 233

Section 3. Structured improvisation, 241

15 RHYTHM and Syncopation 243

 MELODY:

RHYTHMIC READING, 244