Designed to provide students with multiple strategies for ear training and sight singing, Ear Training and Sight Singing is a comprehensive series of exercises and techniques in all areas of the practical music discipline. It encompasses aural identification and written transcriptions as well as vocal performance of prepared and sight material. Suitable for use in ear training and sight singing courses for a 4-semester university or college programme anywhere in North America, this introduction provides a clear, logical presentation of the material, beginning with basic elements and progressing carefully through a graduated series of exercises and assignments that guides and monitors student progress. Loaded with practice repertoire, exercises, and assignments, and supported by an audio CD and a wealth of online supplements, Ear Training and Sight Singing provides the ideal one-volume introduction to aural skills that is excellent for student review and study.
Glen Ethier has taught music theory and aural skills at UBC, the British Columbia Conservatory of Music, University of Alberta, Queen's University, and McGill University. Since 2002 he has been Professor of Music at Vanier College in Montreal.
Table of Contents
Author's Preface and Acknowledgements Publisher's Preface Part I 1. Scales The major scale The solfege system Movable do Curwen hand signs Intervals Seconds and thirds Singing seconds and thirds: referential melodies Melody Transcribing scalar melodies Singing simple scalar melodies using solfege Triads Major Singing major triads from the root Rhythm Simple time signatures: notation and transcription Reading and performing simple time rhythms Conducting patterns Vocalizing strategies Harmony Tonic versus dominant: getting the bass line Repertoire Scale degree melodies Solfege melodies and duets Rhythm 2. Scales The minor scales-natural and harmonic form Singing the natural minor scale Singing the harmonic minor scale Intervals Perfect fourths, perfect fifths, and octaves Melody Tonic arpeggio Singing melodies with tonic arpeggios Triads The minor triad Singing minor triads from the root Rhythm Simple time: rests Simple time: tied notes Harmony I, IV, V, and V7 in root position Subdominant harmony (IV and iv) Repertoire Scale degree melodies Solfege melodies and duets Rhythm 3. Scales The melodic minor scale Singing the melodic minor scale Intervals Major and minor sixths Melody The dominant triad and dominant-seventh chord Singing melodies with dominant triads and dominant-seventh arpeggios Triads More major and minor practice exercises Rhythm Compound time signatures: notation, transcription, and reading Harmony I, IV, V (root position and first inversion), and V7 (root position) Repertoire Scale degree melodies Solfege melodies and duets Rhythm 4. Intervals Major and minor sevenths Singing sevenths: octave displacement, arpeggios, or referential melodies? Melody The subdominant triad (IV and iv) Singing melodies with subdominant arpeggios Triads Isolating outer voices in major and minor triads Doublings in major and minor triads Rhythm Compound time signatures: tied notes and rests Reading compound meter rhythms with tied notes and rests Harmony Linear progression: the viio6 harmony The minor dominant in minor keys Focus: the bass voice Repertoire Scale degree melodies Solfege melodies and duets Rhythm 5. Scales The jazz melodic minor scale Intervals The tritone Singing tritones: referential melodies Melody Melodies with tritone leaps and arpeggio supertonic Singing melodies with tritone leaps and arpeggio supertonic Triads Outer voices in major and minor triads: alternative doublings Rhythm The anacrusis (upbeat) Compound and simple time signatures: other beat and division values More challenging exercises Harmony Supertonic harmony: ii, ii6, and iio6 Submediant (vi/VI) and mediant (iii/III) harmonies The minor supertonic in minor keys Repertoire Scale degree melodies Solfege melodies and duets Rhythm Speed drills 6. Scales The church modes Intervals Review exercises Melody Review dictation Triads Hearing and singing the diminished triad Rhythm Simple and compound time signatures review Harmony Special harmonies in minor keys: subtonic; diminished submediant Hearing simple non-harmonic tones: PT and NT Repertoire Solfege melodies and duets Rhythm Part II 7. Scales Continuation of Lydian mode exercises Intervals Simple melodic intervals in series Melody Melodies with leading-tone triad (viio) arpeggios Triads Hearing and singing the augmented triad Rhythm Simple time signatures: beat division into four Harmony The passing six-four (P6/4) harmony Repertoire Scale degree melodies Solfege melodies and duets Rhythm Speed drills: scales and triads 8. Scales Exercises-the Mixolydian mode Intervals Simple harmonic intervals in series Melody Practice melodies for transcription and singing Triads Singing major and minor triads in root position given the third or fifth Identifying outer voices in diminished triads Rhythm Simple meter: more challenging exercises with beat division into four Compound meter: more ties and rests Harmony The neighbouring six-four (N6/4) harmony The circle of fifths Repertoire Scale degree melodies Solfege melodies and duets Rhythm Speed drills: scales and triads 9. Scales Continued work with the Mixolydian mode Intervals Longer series of melodic simple intervals Melody More melodies for transcription and singing; emphasis on supertonic and leading-tone arpeggios More singing of Mixolydian mode melodies and duets Introduction to two-part melodic dictation Triads Singing major and minor triads in inversion Continued identification and singing of diminished and augmented triads Rhythm Simple meter: more challenging exercises with beat division into four Compound meter: more ties and rests Introduction to two-part rhythm reading Harmony The cadential six-four (C6/4) harmony Longer harmonic progressions Repertoire Scale degree melodies-all arpeggios Solfege melodies and duets Rhythm (one-part and two-part reading) Speed drills: all simple intervals (melodic and harmonic) 10. Scales Exercises: the Dorian mode Intervals Longer series of melodic and harmonic simple intervals Melody Dictation and singing in all modes Continued two-part melodic dictation Triads Singing the diminished triad in first inversion Rhythm Simple and compound meters: more challenging exercises for transcription and reading Two-part rhythm reading: more independence exercises and sight reading Harmony The arpeggio six-four (A6/4) harmony All 6/4 harmonies review Repertoire Scale degree melodies-challenging examples Solfege melodies and duets Rhythm reading (one-part and two-part) Speed drills: scales, triads, intervals 11. Melody 8-bar melodies for transcription Rhythm Compound meter: beat division into six (second-level division) Harmony Outer-voice transcriptions in musical notation Inverted V7 harmony: the V6/5 chord Clefs Alto and tenor clefs Part III 12. Scales Exercises: The Phrygian mode Intervals Compound intervals: ninths and tenths Singing ninths and tenths Melody 8-bar melodies for transcription Sight singing Chords Chords out of context: the dominant-seventh chord (Mm7) Rhythm Compound and simple time signatures: more exercises Two-part rhythmic transcription Harmony Inverted V7 harmony: the V4/2 chord Non-harmonic tones part I: unaccented NHTs 13. Scales The Locrian mode Intervals The Compound perfect intervals: P11, P12, and P15 Singing compound fourths, fifths, and octaves Melody 8-bar melodies for transcription: sentence structure Sight singing Chords Chords out of context: the minor-seventh chord (mm7) and the major-seventh chord (MM7) Rhythm Borrowed division: triplets in simple time Two-part rhythmic transcription Harmony Inverted V7 harmony: the V4/3 chord Non-harmonic tones part II: accented NHTs 14. Scales Exercises for all scales and modes Intervals Compound intervals: thirteenths and fourteenths; the compound tritone Melody 8-bar melodies for transcription: period structure Sight singing Chords Chords out of context: continued practice of mm7 and the MM7 chords Rhythm Syncopation from sixteenth-notes Simple time signatures: Two-part rhythmic dictation using triplets Harmony Other seventh-chords: I7, IV7, and II7 (root position only) Sequence: the circle of fifths 15. Scales The pentatonic scale Intervals Review exercises for compound intervals Melody Pentatonic melodies for transcription Chords Hearing the upper voice in Mm7, MM7, and mm7 Rhythm Borrowed division: duplets in compound time signatures Compound meter: other dotted-rhythm cells Two-part rhythmic transcription Harmony Inverted predominant seventh: ii6/5 and iiO6/5 16. Scales The whole-tone scale Intervals Compound intervals greater than two octaves: multiple compound intervals I Simple intervals in series Melody Melodies with chromaticism Chords Chords out of context: the half-diminished-seventh chord (dm7 or O7) Mm7 chords: identifying upper voice and inversion Rhythm Irregular time signatures: 5/4 and 7/8 Two-part rhythmic transcription Harmony All diatonic harmonies review Modal mixture 17. Scales The Octatonic scale Intervals Multiple compound intervals II: further exercises Melody Continued chromaticism in melodies Chords All triads: adding upper voices Chords out of context: the fully-diminished-seventh chord (dd7 or o7) Rhythm Irregular meter: 8/8 More tuplets: other borrowed divisions Harmony Hearing viiO7 and viio7 Part IV 18. Scales The blues scale Intervals Review and practice of all intervals Atonal series of intervals Singing atonal interval series Melody Modulating melodies Simple chromaticism in two-part melodies Chords Mm7 chords: adding upper voices Rhythm Changing meters Harmony Chromatic harmony: the Neapolitan sixth chord (bII6) 19. Scales Non-traditional scales Intervals Compound intervals in harmonic series More atonal series of intervals: exercises Melody More modulating melodies Modulating melodies with chromaticism More chromaticism in two-part melodies Chords Adding upper voices to other seventh-chords Rhythm Advanced rhythm reading: further levels of beat division and samples from the literature The subtriplet and the supertriplet Harmony More chromatic harmony: the augmented sixth chords 20. Scales Olivier Messiaen's modes of limited transposition Intervals Compound intervals in harmonic series More atonal series of intervals Melody Melodies that modulate to other key areas More chromaticism in modulating melodies Chords Hearing dominant-ninth chords out of context The mM7 chord Rhythm Advanced rhythm transcription and reading Harmony V9 in harmonic progressions Applied dominants: [V7] and [V6/5] Appendix I: Curwen hand signs Appendix II: Interval chart Appendix III: Rhythmic shorthand Appendix IV: Chromatic variants of the movable-do Solfege system Glossary of musical terms Index