Music for Sight Singing

by Ottman, Robert W.

• ISBN13: 9780132343602
• ISBN10: 0132343606
• Edition: 4th
• Format: Paperback
• Copyright: 1996-02-01
• Publisher: Pearson College Div

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