Music for Sight Singing

by Ottman, Robert W.; Rogers, Nancy

• ISBN13: 9780131872349
• ISBN10: 0131872346
• Edition: 7th
• Format: Spiral Bound
• Copyright: 2006-08-21
• Publisher: Pearson

Summary

Using an abundance of meticulously organized melodies drawn from the literature of composed music and a wide range of the worldrs"s folk music, Ottman and Rogers provide the most engaging and comprehensive Sight Singing text on the market.Arranging its 21 chapters to study both pitch and rhythm, this book presents melodies and over 1200 exercises that enable readers to develop the skills of reading pitch, reading rhythm, and combining these two essential elements. The Seventh Edition contains 30% more rhythmic exercises and new structured improvisation exercises. For professionals with a career in music, music education, and composition.

Author Biography

Robert W. Ottman , deceased, an internationally renowned music theorist, was an important contributor to Music Theory education. He wrote eight textbooks and co-authored four others, all which are used to educate English-speaking students worldwide. Dr. Ottman also was a professor and chair of the Music Theory Department at the University of North Texas and a conductor of the Madrigal Singers. He earned both his BA and MM from Eastman School of Music, University of Rochester, NY, and his Ph.D. from what is now the University of North Texas in 1956. He was honored with the University of North Texas President's Citation for outstanding service to the university in April 2004. 

 

Nancy Rogers is an Assistant Professor of Music Theory at Florida State University and the current Secretary of the Society for Music Theory; she is also a Faculty Reader and Consultant for the Advanced Placement Test in Music Theory. She received her Ph.D. from the Eastman School of Music, where she won both school-wide and university-wide teaching awards. Dr. Rogers' primary research interest is music cognition and its pedagogical implications, and she has presented papers at national, international, and regional conferences. Her recent publications may be found in Music Theory Online, the Journal of Music Theory Pedagogy, and Indiana Theory Review.

Table of Contents

PREFACE	xiii
IN MEMORIUM	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	(11)
RHYTHMIC READING	1	(1)
Section 1 (R). The quarter note as the heat unit. Beat-note values and larger only,	3	(1)
Section 2 (R). The quarter note as the beat unit and its division. Dotted notes and tied notes,	4	(1)
Section 3 (R). Two-part drills,	6	(1)
Section 4 (R). Note values other than the quarter note as beat values, 7 Sections (R). Two-part drills,	10	(2)
2
MELODY: Stepwise Melodies, Major Keys
RHYTHM: Simple Meters; the Beat and Its Division into Two Parts	12	(13)
SIGHT SINGING,	12	(1)
Section 1. Major keys, treble clef, the quarter note as the beat unit. Key signatures with no more than three sharps or three flats,	14	(1)
Section 2. Bass clef,	17	(1)
Section 3. Other meter signatures,	19	(1)
Section 4. Duets,	21	(1)
Section 5. Structured improvisation,	23	(2)
3
MELODY: Intervals from the Tonic Triad, Major Keys
RHYTHM: Simple Meters	25	(21)
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,	27	(5)
Section 2. Bass clef,	32	(2)
Section 3. Interval of the sixth; minor sixth, A up to and major sixth, g up to 3, or descending,	34	(2)
Section 4. The half note and the eighth note as beat units,	36	(2)
Section 5. Duets,	38	(3)
Section 6. Key signatures with five, six, and seven sharps or flats,	41	(4)
Section 7. Structured improvisation,	45	(1)
4
MELODY: Intervals from the Tonic Triad, Major Keys
RHYTHM: Compound Meters; the Beat and Its Division into Three Parts	46	(20)
Section 1 (R). Rhythmic reading: The dotted quarter note as the beat unit. Single lines and two-part drills,	47	(4)
Section 2. Sight singing: Major keys, treble clef; the dotted quarter note as the beat unit,	51	(3)
Section 3. Sight singing: Bass clef,	54	(4)
Section 4 (R). Rhythmic reading: The dotted half note and the dotted eighth note as beat units, including two-part drills,	58	(2)
Section 5. Sight singing: The dotted half note and dotted eighth note as beat units,	60	(2)
Section 6. Duets,	62	(2)
Section 7. Structured improvisation,	64	(2)
5
MELODY: Minor Keys; Intervals from the Tonic Triad
RHYTHM: Simple and Compound Meters	66	(14)
Section 1. Simple meters,	68	(5)
Section 2. Compound meters,	73	(2)
Section 3. Duets,	75	(3)
Section 4. Structured improvisation,	78	(2)
6
MELODY: Intervals from the Dominant (V)Triad; Major and Minor Keys
RHYTHM: Simple and Compound Meters	80	(20)
Section 1. Intervals of the third from the V triad; major keys; simple meters,	82	(2)
Section 2. Intervals of the third from the V triad; minor keys; simple meters,	84	(2)
Section 3. Intervals of the fourth and fifth from the V triad; major and minor keys; simple meters,	86	(5)
Section 4. Interval of the sixth from the V triad; simple meters,	91	(1)
Section 5. Compound meters; various intervals from the V triad,	92	(2)
Section 6. Numerator of three, compound meters,	94	(1)
Section 7. Duets,	95	(4)
Section 8. Structured improvisation,	99	(1)
7
THE C CLEFS: Alto and Tenor Clefs	100	(12)
Section 1. The alto clef,	101	(5)
Section 2. The tenor clef,	106	(4)
Section 3. Additional practice in the C clefs,	110	(2)
8
MELODY: Further Use of Diatonic Intervals
RHYTHM: Simple and Compound Meters III
Section 1. Single-line melodies,	112	(13)
Section 2. Duets,	125	(2)
Section 3. Structured improvisation,	127	(2)
9
MELODY: Intervals from the Dominant Seventh Chord (V7); Other Diatonic Intervals of the Seventh
RHYTHM: Simple and Compound Meters	129	(13)
Section 1. The complete dominant seventh chord,	130	(1)
Section 2. The interval of the minor seventh: 5 up to 4 or reverse,	131	(4)
Section 3. The interval of the tritone,	135	(4)
Section 4. Other uses of diatonic intervals of the seventh,	139	(2)
Section 5. Structured improvisation,	141	(1)
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	142	(13)
RHYTHMIC READING, SIMPLE METERS,	142	(1)
Section 1 (R). Preliminary exercises, simple meters,	143	(1)
Section 2 (R). Rhythmic reading exercises in simple meters,	143	(1)
Section 3 (R). Two-part drills, simple meters,	146	(1)
RHYTHMIC READING, COMPOUND METERS,	147	(1)
Section 4 (R). Preliminary exercises, compound meters,	148	(1)
Section 5 (R). Rhythmic reading exercises in compound meters,	149	(1)
Section 6 (R). Two-part drills, compound meters,	152	(3)
11
MELODY: Intervals from the Tonic and Dominant Triads
RHYTHM: Subdivision in Simple and Compound Meters	155	(10)
Section 1. Major keys,	155	(5)
Section 2. Minor keys,	160	(3)
Section 3. Structured improvisation,	163	(2)
12
MELODY: Further Use of Diatonic Intervals
RHYTHM: Subdivision in Simple and Compound Meters	165	(20)
Section 1. Diatonic intervals except the seventh and the tritone,	165	(12)
Section 2. The dominant seventh (V7) chord; intervals of the seventh and the tritone,	177	(5)
Section 3. Other uses of the interval of the seventh,	182	(1)
Section 4. Structured improvisation,	183	(2)
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	185	(34)
Section 1. Chromatic nonharmonic tones. Augmented and diminished intervals created by their use,	185	(5)
Section 2. The secondary dominant chord, V/V or V7/V. Modulation from a major key to its dominant key,	190	(23)
Section 3. Duets,	213	(4)
Section 4. Structured improvisation,	217	(2)
14
MELODY: Chromaticism (II): Modulation to Closely Related Keys; Additional Secondary Dominant Harmonies	219	(30)
Section 1. Single-line melodies,	220	(17)
Section 2. Duets,	237	(10)
Section 3. Structured improvisation,	247	(2)
15
RHYTHM AND MELODY: Syncopation	249	(33)
RHYTHMIC READING,	250	(1)
Section 1 (R). Divided beat patterns in simple meters,	250	(1)
Section 2 (R). Divided beat patterns in compound meters,	251	(1)
Section 3 (R). Two-part drills,	252	(1)
Section 4 (R). Subdivided beat patterns in simple meters,	254	(1)
Section 5 (R). Subdivided beat patterns in compound meters,	255	(1)
Section 6 (R). Two-part drills,	256	(1)
SIGHT SINGING,	257	(1)
Section 7. Divided beat patterns in simple meters,	257	(1)
Section 8. Divided beat patterns in compound meters,	266	(1)
Section 9. Duets,	270	(1)
Section 10. Subdivided heat patterns in simple and compound meters,	275	(1)
Section 11. Structured improvisation,	281	(1)
16
RHYTHM AND MELODY: Triplet Division of Undotted Note Values; Duplet Division of Dotted NoteValues	282	(27)
RHYTHMIC READING,	283	(1)
Section 1 (R). Triplet division of undotted note values,	283	(1)
Section 2 (R). Duplet division of dotted note values,	286	(1)
Section 3 (R). Two-part drills,	287	(2)
SIGHT SINGING,	289	(1)
Section 4. Triplet division of undotted note values,	289	(1)
Section 5. Duplet division of dotted note values,	298	(1)
Section 6. Duets,	302	(1)
Section 7. Structured improvisation,	307	(2)
17
RHYTHM AND MELODY: Changing Meter Signatures; the Hemiola; Less Common Meter Signatures	309	(20)
RHYTHMIC READING,	309	(1)
Section 1 (R). Definitions and rhythmic reading exercises,	309	(4)
SIGHT SINGING,	313	(1)
Section 2. Changing meter signatures,	313	(1)
Section 3. The hemiola,	316	(1)
Section 4. Meters of 5 and 7, and other meters,	321	(1)
Section 5. Structured improvisation,	327	(2)
18
RHYTHM AND MELODY: Further Subdivision of the Beat; Notation in Slow Tempi	329	(32)
Section 1 (R). Rhythmic reading,	330	(2)
Section 2. Sight singing,	332	(8)
Section 3. Structured improvisation,	340	(1)
19
MELODY: Chromaticism (III): Additional Uses of Chromatic Tones; Remote Modulation	341	(1)
Section 1. Chromatic tones in less common intervals,	341	(5)
Section 2. The Neapolitan sixth,	346	(5)
Section 3. Remote modulation,	351	(9)
Section 4. Structured improvisation,	360	(1)
PART IV THE DIATONIC MODES AND TWENTIETH-CENTURY MUSIC
20
MELODY: The Diatonic Modes	361	(20)
Section 1. Folk music,	362	(8)
Section 2. Composed music,	370	(9)
Section 3. Structured improvisation,	379	(2)
21
RHYTHM AND MELODY: The Twentieth Century	381	(38)
Section 1 (R). Meter and rhythm. Rhythmic reading,	381	(3)
Section 2. Extensions of the traditional tonal system,	384	(16)
Section 3. Symmetrical collections; the whole-tone and octatonic scales,	400	(4)
Section 4. Freely post-tonal melodies; twelve-tone melodies,	404	(5)
Section 5. Duets,	409	(7)
Section 6. Structured improvisation,	416	(3)
APPENDIX: MUSICAL TERMS	419