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Music for Sight Singing,9780132343602

Music for Sight Singing

by
Edition:
4th
ISBN13:

9780132343602

ISBN10:
0132343606
Format:
Paperback
Pub. Date:
2/1/1996
Publisher(s):
Prentice Hall
List Price: $51.00
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Summary

This versatile volume presents a collection of melodies carefully selected for their capacity to develop sight singing ability. Featuring singing materials from folk music and the literature of composed music.

Table of Contents

(R) indicates Rhythmic Reading exercises
PREFACE xiii(2)
ACKNOWLEDGMENTS xv
PART I MELODY: DIATONIC INTERVALS RHYTHM: DIVISION OF THE BEAT 1(121)
1 MELODY: Scale-Line Movement, Major Keys RHYTHM: Simple Time (Meter); the Beat and Its Division into Two Parts
1(20)
RHYTHMIC READING
1(12)
Section 1 (R). The quarter note as the beat unit. Beat-note values and larger only
3(2)
Section 2 (R). The quarter note as the beat unit and its division. Dotted notes and tied notes
5(1)
Section 3 (R). Two-part drills
6(2)
Section 4 (R). Note values other than the quarter note as beat values
8(3)
Section 5 (R). Two-part drills
11(2)
SIGHT SINGING
13(8)
Section 6. Major keys; treble clef; the quarter note as the beat unit
14(1)
Section 7. Bass clef
15(2)
Section 8. Other time signatures
17(2)
Section 9. Duets
19(2)
2 MELODY: Intervals from the Tonic Triad, Major Keys RHYTHM: Simple Time
21(17)
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; undotted notes
23(3)
Section 2. Dotted notes
26(2)
Section 3. Bass clef
28(2)
Section 4. Interval of the sixth
30(2)
Section 5. The half note and the eighth note as beat units
32(2)
Section 6. Duets
34(4)
3 MELODY: Intervals from the Tonic Triad, Major Keys RHYTHM: Compound Time (Meter); the Beat and Its Division into Three Parts
38(15)
Section 1 (R). Rhythmic reading: The dotted quarter note as the beat unit. Single lines and two-part drills
39(2)
Section 2. Sight singing: Major keys, treble clef; the dotted quarter note as the beat unit
41(3)
Section 3. Sight singing: Bass clef
44(1)
Section 4 (R). Rhythmic reading: The dotted half note and the dotted eighth note as beat-note values, including two-part drills
45(3)
Section 5. Sight singing: The dotted half note and dotted eighth notes as beat-note values
48(5)
4 MELODY: Minor Keys; Intervals from the Tonic Triad RHYTHM: Simple and Compound Time
53(11)
Section 1. Simple time
55(4)
Section 2. Compound time
59(2)
Section 3. Duets
61(3)
5 MELODY: Intervals from the Dominant (V) Triad; Major and Minor Keys RHYTHM: Simple and Compound Time
64(19)
Section 1. Intervals of the third from the V triad; major keys; simple time
66(2)
Section 2. Intervals of the third from the V triad; minor keys; simple time
68(3)
Section 3. Intervals of the fourth and fifth from the V triad; major and minor keys; simple time
71(4)
Section 4. Interval of the sixth from the V triad; simple time
75(1)
Section 5. Various intervals from the V triad; compound time
76(3)
Section 6. Duets
79(4)
6 THE C CLEFS: Alto and Tenor Clefs
83(11)
Section 1. The alto clef
84(5)
Section 2. The tenor clef
89(4)
Section 3. Additional practice in the C clefs
93(1)
7 MELODY: Further Use of Diatonic Intervals RHYTHM: Simple and Compound Time
94(16)
Section 1. Single-line melodies
95(12)
Section 2. Duets
107(3)
8 MELODY: Intervals from the Dominant Seventh Chord (V^7); Other Diatonic Intervals of the Seventh RHYTHM: Simple and Compound Time
110(12)
Section 1. The complete dominant seventh chord
111(1)
Section 2. The interval of the minor seventh; chord members 1 up to 7 or reverse
112(4)
Section 3. The interval of the tritone
116(3)
Section 4. Other uses of diatonic intervals of the seventh
119(3)
PART II MELODY: DIATONIC INTERVALS RHYTHM: SUBDIVISION OF THE BEAT 122(36)
9 RHYTHM: The Subdivision of the Beat; the Simple Beat into Four Parts; the Compound Beat into Six Parts
122(11)
RHYTHMIC READING, SIMPLE TIME
122(5)
Section 1 (R). Preliminary exercises, simple time
122(1)
Section 2 (R). Rhythmic reading exercises in simple time
123(3)
Section 3 (R). Two-part drills, simple time
126(1)
RHYTHMIC READING, COMPOUND TIME
127(6)
Section 4 (R). Preliminary exercises, compound time
127(1)
Section 5 (R). Rhythmic reading exercises in compound time
128(2)
Section 6 (R). Two-part drills, compound time
130(3)
10 MELODY: Intervals from the Tonic and Dominant Triads RHYTHM: Subdivision in Simple and Compound Time
133(7)
11 MELODY: Further Use of Diatonic Intervals RHYTHM: Subdivision in Simple and Compound Time
140(18)
Section 1. Diatonic intervals except the seventh and the tritone
140(11)
Section 2. The dominant seventh (V^7) chord; intervals of the seventh and the tritone
151(5)
Section 3. Other uses of the interval of the seventh
156(2)
PART III MELODY: CHROMATICISM RHYTHM: FURTHER RHYTHMIC PRACTICES 158(151)
12 MELODY: Chromaticism (I): Chromatic Tones; the Dominant of the Dominant (V/V) Harmony; Modulation to the Key of the Dominant
158(21)
Section 1. Chromatic nonharmonic tones. Augmented and diminished intervals whose second tone resolves to a tonic triad tone
158(5)
Section 2. The secondary dominant chord, V/V or V^7/V. Modulation from a major key to its dominant key
163(12)
Section 3. Duets
175(4)
13 MELODY: Chromaticism (II): Modulation to Closely Related Keys; Additional Secondary Dominant Harmonies
179(28)
Section 1. Single-line melodies
180(16)
Section 2. Duets
196(11)
14 RHYTHM: Syncopation
207(29)
RHYTHMIC READING
208(6)
Section 1 (R). Divided beat patterns in simple time
208(1)
Section 2 (R). Divided beat patterns in compound time
209(1)
Section 3 (R). Two-part drills
210(2)
Section 4 (R). Subdivided beat patterns, including duets
212(2)
SIGHT SINGING
214(22)
Section 5. Divided beat patterns in simple time
214(8)
Section 6. Divided beat patterns in compound time
222(3)
Section 7. Duets
225(5)
Section 8. Subdivided beat patterns
230(6)
15 RHYTHM: Triplet Division of Undotted Note Values; Duplet Division of Dotted Note Values
236(24)
RHYTHMIC READING
237(5)
Section 1 (R). Triplet division of undotted note values
237(2)
Section 2 (R). Duplet division of dotted note values
239(1)
Section 3 (R). Two-part drills
240(2)
SIGHT SINGING
242(18)
Section 4. Triplet division of undotted note values
242(8)
Section 5. Duplet division of dotted note values
250(5)
Section 6. Duets
255(5)
16 RHYTHM: Changing Time Signature; the Hemiola; Less Common Time Signatures
260(20)
RHYTHMIC READING
260(4)
Section 1 (R). Definitions and rhythmic-reading exercises
260(4)
SIGHT SINGING
264(16)
Section 2. Changing time signatures
264(6)
Section 3. The hemiola
270(3)
Section 4. Meters of 5 and 7, and other meters
273(7)
17 RHYTHM: Further Subdivision of the Beat; Notation in Slow Tempi
280(12)
Section 1 (R). Rhythmic reading
281(3)
Section 2. Sight singing
284(8)
18 MELODY: Chromaticism (III): Additional Uses of Chromatic Tones; Remote Modulation
292(17)
Section 1. Chromatic tones
292(7)
Section 2. Remote modulation
299(10)
PART IV THE MEDIEVAL MODES AND TWENTIETH-CENTURY MUSIC 309(48)
19 MELODY: The Medieval Modes
309(19)
Section 1. Folk music
310(8)
Section 2. Composed music
318(10)
20 TWENTIETH-CENTURY MELODY
328(29)
Section 1 (R). Meter and rhythm. Rhythmic reading
328(3)
Section 2. Melody. Singing nontonal lines
331(2)
Section 3. Twentieth-century melodic lines
333(18)
Section 4. Duets
351(6)
APPENDIX: MUSICAL TERMS 357


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