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Aural Skills in Context takes a comprehensive approach to sight singing, ear training, and rhythm practice. By featuring real examples from classical music to folk and jazz, and offering melodies with their related harmonies, the text parallels the full Music Theory curriculum and reinforces the relevance of aural skills to students' other classes, as well as their performance and listening interests. In addition to a wide variety of partial and complete excerpts, Aural Skills in Context also provides a wealth of activities that range far beyond simply singing the melodies or writing them down from dictation, giving instructors and students the opportunity to engage in improvisation; performance in multiple voices; switching between melody and accompanying lines; creating new melodies above a given bass line; or even an additional "obbligato" voice above the given melody or between the outer voices.
* Rhythmic, harmonic, and melodic drills accompany musical examples and solidify students' understanding of the position of every pitch within the tonal context * "Expanding Repertoires" sections include listening and dictation-type exercises that allow students to engage in listening beyond the traditional examples * "Contextual Listening" assignments are accompanied with streaming audio at various tempos and an online mixer for balancing musical parts on the companion website, www.oup.com/us/jonesshaftel * Designed so that it may be used with Finale Smartmusic, an inexpensive software program that enables students to receive immediate feedback on their sight singing, while keeping a record of their progress.
Evan Jones is Associate Professor of Music Theory and Coordinator of Music Theory and Composition at Florida State University.
Matthew R. Shaftel is Distinguished Associate Professor of Music Theory and Associate Dean at Florida State University.
Juan Chattah is Assistant Professor of Music Theory and Composition at the University Of Miami Frost School of Music.
Table of Contents
a Preface. Pedagogical Approach, Curricular Planning, Practicalities The Foundations of Aural Skills Introduction to the Student Major and Minor Scales and Simple Intervals Basic Rhythmic Patterns Conducting of Simple Meters Neighbor and Passing Tones in a Stepwise Context Keyboard Orientation First Steps in Improvisation Tonic Triad Practice in Multiple Clefs Six-Step Method for Dictation Introduction to Smartmusic Unit 1. The Diatonic Scale Degrees 1. Tonic Triad and its Melodies Tonic Triad as Melodic Basis Major and Minor Scales in Context First Five Notes of the Scale 2. Submediant Scale Degree and Major Pentatonic Submediant Scale Degree The I-V-I Harmonic Paradigm Major Pentatonic Scale Introduction to Compound Meter 3. Seventh Scale Degree and Minor Pentatonic Minor Pentatonic Scale Compound Meter Leading Tone and Subtonic Scale Degree Subdominant Harmony 4. Plagal Melodies I Upper and Lower Dominant Scale Degrees First Inversion Triads Expanding the Melodic Range Beyond the Octave 5. Plagal Melodies II Syncopation Changing Meters Harmonic Study of Tonic Prolongation 6. The Octave and Beyond Excerpts that Span the Entire Octave and Beyond Periodic Structures (Parallel Period) Inconclusive and Conclusive Cadences 7. Complete Examples from the Repertoire Reviewing Unit I through Complete Works Focus on Rhythm in a Non-Pitched Work Unit II. Diatonic Contexts & Introduction to Chromatic Pitches 8. Diatonic Sequences Ascending and Descending Fifths Sequence Descending Thirds Sequence Ground Bass Harmonic Study of Tonic Prolongation. viio6, Passing 6/4, and Inversions of V7 9. Diatonic Sequences II New Rhythmic Configurations Ascending Seconds Sequence Quasi-Sequential Progressions Four-Part Schemata of Sequences 10. Motivic Development and the Sentence Sentence Structure Expansions and Extensions of Sentences Harmonic Study of Tonic Prolongation. Combination of Predominants with Inversions of vii° and V7 11. Chromatic Neighbor Tones Chromatic Neighbor Tones as Surface-Level Embellishments Resolution of Chromatic-Altered Pitches Chromatic Solmization Syllables (Ascending. di, ri, fi, si, li; Descending. te, le, se, me) Cadential Progressions with vi and ii Cadential 6/4 12. Chromatic Passing Tones Chromatic Passing Tones as Surface-Level Embellishments Harmonic Study of Mediant and Subtonic Triads 13. Beyond the Stepwise Context Delayed Resolutions of Chromatic Pitches Harmonic Study of Tonicization via 14. Complete Examples from the Repertoire Reviewing Unit II through Complete Works Focus on Rhythm in a Non-Pitched Work Unit III. Advanced Melodies, Modulation, and Introduction to Musical Form 15. Melodic Chromaticism Chromatic Melodies and Bass Lines Singing Complete Musical Forms Extended Melodic Range Lowered Supertonic Scale Degree Harmonic Study of Tonicization via 16. Modulation Tonicization vsModulation Modulation to the Dominant Harmonic Study of Tonicization via 17. Simple Binary Form Categories and Classification of Binary Forms based on Harmonic Design Harmonic Study of Tonicization via 18. Rounded and Balanced Binary Form Categories and Classification of Binary Forms based on Motivic Design Harmonic Study of Tonicization via and 19. Modal Mixture Coloristic Use of Modal Mixture Chords Tendency of Tones in Modal Mixture Chords Tonicization of Modal Mixture Chords Modulation to Modally Mixed Tonal Areas 20. Ternary Form Categories and Classification of Ternary Forms Harmonic Study of Chromatic Third Relations 21. Neapolitan Triad and Common-Tone Diminished Seventh Neapolitan as Predominant Harmony Uses of Common-Tone Diminished Seventh Focus on Rhythm in a Non-Pitched Work Unit IV. Advanced Chromaticism and Larger Forms 22. Introduction to Augmented-Sixth Chords Augmented-Sixth Chords as Pre-Dominant Harmonies The Tritone Substitution in Jazz and Popular Music Harmonic Study of the Common-Tone Diminished Seventh 23. Rondo Form Five-Part and Seven-Part Rondos Harmonic Study of Augmented Sixth Chords 24. Further Uses of Augmented-Sixth Chords Use of Augmented-Sixth Chords in Larger Forms Advanced Uses of Augmented-Sixth Chords 25. Sonata Form Basic Harmonic and Motivic Traits of Sonata Forms Introduction and Coda in Sonata Forms Harmonic Study of Complex Chromatic Progressions 26. Advanced Melodic and Harmonic Chromaticism Equal Division of the Octave Complex Melodic Chromaticism 27. Later Tonal Styles Post-Romantic, Impressionist, and Contemporary Tonal Styles