Music for Sightsinging

by Ottman, Robert W.

• ISBN13: 9780131826625
• ISBN10: 013182662X
• Edition: 6th
• Format: Paperback
• Copyright: 2004-01-01
• Publisher: Pearson College Div

Summary

Blending step-by-step guidance with frequent practice, this book helps readers cultivate an understanding of sight singing and acquire the necessary skills to hear mentally a piece of printed music "without" using an instrument. Arranging its 21 chapters to study both pitch and rhythm, this book presents melodies and exercises that enable readers to develop the skills of reading pitch, reading rhythm, and combining these two essential elements. The Sixth Edition contains nearly 1200 melodies taken from a wide spectrum of music literature and the world's folk music. For professionals with a career in music, music education, and composition.

Table of Contents

Preface	xiii
Acknowledgments	xv
PART I MELODY: DIATONIC INTERVALS RHYTHM: DIVISION OF THE BEAT
Rhythm: Simple Time (Meter); the Beat and Its Division into Two Parts	1	(13)
Rhythmic Reading	2	(2)
(R). The quarter note as the beat unit. Beat-note values and larger only	4	(1)
(R). The quarter note as the beat unit and its division. Dotted notes and tied notes	5	(1)
(R). Two-part drills	6	(2)
(R). Note values other than the quarter note as beat values	8	(3)
(R). Two-part drills	11	(3)
Melody: Scale-Line Melodies Rhythm: Simple Time (Meter); the Beat and its Division into Two Parts	14	(12)
Major keys, treble clef, the quarter note as the beat unit. Key signatures with no more than three sharps or three flats	15	(4)
Bass clef	19	(3)
Other time signatures	22	(2)
Duets	24	(2)
Melody: Intervals from the Tonic Triad, Major Keys Rhythm: Simple Time	26	(20)
Major keys, treble clef, intervals of the third, fourth, fifth, and octave from the tonic triad. The quarter note as the beat unit	27	(6)
Bass clef	33	(3)
Interval of the sixth; minor sixth, 3 up to 1, and major sixth, 5 up to 3, or descending	36	(2)
The half note and the eighth note as beat units	38	(1)
Duets	39	(3)
Key signatures with five, six, and seven sharps or flats	42	(4)
Melody: Intervals from the Tonic Triad, Major Keys Rhythm: Compound Time (Meter); the Beat and Its Division into Three Parts	46	(17)
(R). Rhythmic reading: The dotted quarter note as the beat unit. Single lines and two-part drills	47	(2)
Sight singing: Major keys, treble clef; the dotted quarter note as the beat unit	49	(3)
Sight singing: Bass clef	52	(3)
(R). Rhythmic reading: The dotted half note and the dotted eighth note as beat-note values, including two-part drills	55	(3)
Sight singing: Beat-note values of the dotted half note and dotted eighth notes	58	(2)
Duets	60	(3)
Melody: Minor Keys; Intervals from the Tonic Triad Rhythm: Simple and Compound Time	63	(12)
Simple time	66	(4)
Compound time	70	(2)
Duets	72	(3)
Melody: Intervals from the Dominant (V) Triad; Major and Minor Keys Rhythm: Simple and Compound Time	75	(19)
Intervals of the third from the V triad; major keys; simple time	77	(2)
Intervals of the third from the V triad; minor keys; simple time	79	(3)
Intervals of the fourth and fifth from the V triad; major and minor keys; simple time	82	(4)
Interval of the sixth from the V triad; simple time	86	(1)
Compound time; various intervals from the V triad	87	(3)
Numerators of three, compound time	90	(1)
Duets	90	(4)
The C Clefs: Alto and Tenor Clefs	94	(11)
The alto clef	95	(5)
The tenor clef	100	(4)
Additional practice in the C clefs	104	(1)
Melody: Further Use of Diatonic Intervals Rhythm: Simple and Compound Time	105	(16)
Single-line melodies	106	(12)
Duets	118	(3)
Melody: Intervals from the Dominant Seventh Chord (V7); Other Diatonic Intervals of the Seventh Rhythm: Simple and Compound Time	121	(12)
The complete dominant seventh chord	122	(1)
The interval of the minor seventh; chord members 1 up to 7 or reverse	123	(4)
The interval of the tritone	127	(3)
Other uses of diatonic intervals of the seventh	130	(3)
PART II MELODY: DIATONIC INTERVALS RHYTHM: SUBDIVISION OF THE BEAT
Rhythm: The Subdivision of the Beat; the Simple Beat into Four Parts; the Compound Beat into Six Parts	133	(11)
Rhythmic Reading, Simple Time	133	(1)
(R). Preliminary exercises, simple time	133	(1)
(R). Rhythmic reading exercises in simple time	134	(3)
(R). Two-part drills, simple time	137	(1)
Rhythmic Reading, Compound Time	138	(1)
(R). Preliminary exercises, compound time	138	(1)
(R). Rhythmic reading exercises in compound time	139	(2)
Section 6 (R). Two-part drills, compound time	141	(3)
Melody: Intervals from the Tonic and Dominant Triads Rhythm: Subdivision in Simple and Compound Time	144	(9)
Major keys	144	(5)
Minor keys	149	(4)
Melody: Further Use of Diatonic Intervals Rhythm: Subdivision in Simple and Compound Time	153	(19)
Diatonic intervals except the seventh and the tritone	153	(12)
The dominant seventh (V7) chord; intervals of the seventh and the tritone	165	(4)
Other uses of the interval of the seventh	169	(3)
PART III MELODY: CHROMATICISM RHYTHM: FURTHER RHYTHMIC PRACTICES
Melody: Chromaticism (I): Chromatic Nonharmonic Tones; the Dominant of the Dominant (V/V) Harmony; Modulation to the Key of the Dominant	172	(26)
Chromatic nonharmonic tones. Augmented and diminished intervals created by their use	172	(6)
The secondary dominant chord, V/V or V7/V. Modulation from a major key to its dominant key	178	(16)
Duets	194	(4)
Melody: Chromaticism (II): Modulation to Closely Related Keys; Additional Secondary Dominant Harmonies	198	(28)
Single-line melodies	199	(16)
Duets	215	(11)
Rhythm: Syncopation	226	(31)
Rhythmic Reading	227	(1)
(R). Divided beat patterns in simple time	227	(1)
(R). Divided beat patterns in compound time	228	(1)
(R). Two-part drills	229	(2)
(R). Subdivided beat patterns, including duets	231	(2)
Sight Singing	233	(1)
Divided beat patterns in simple time	233	(8)
Divided beat patterns in compound time	241	(4)
Duets	245	(5)
Syncopation in subdivided beat patterns	250	(7)
Rhythm and Melody: Triplet Division of Undotted Note Values; Duplet Division of Dotted Note Values	257	(24)
Rhythmic Reading	258	(1)
(R). Triplet division of undotted note values	258	(2)
(R). Duplet division of dotted note values	260	(1)
(R). Two-part drills	261	(2)
Sight Singing	263	(1)
Triplet division of undotted note values	263	(8)
Duplet division of dotted note values	271	(5)
Duets	276	(5)
Rhythm and Melody: Changing Time Signatures; the Hemiola; Less Common Time Signatures	281	(19)
Rhythmic Reading	281	(1)
(R). Definitions and rhythmic reading exercises	281	(4)
Sight Singing	285	(1)
Changing time signatures	285	(5)
The hemiola	290	(3)
Meters of 5 and 7, and other meters	293	(7)
Rhythm and Melody: Further Subdivision of the Beat; Notation in Slow Tempi	300	(12)
(R). Rhythmic reading	301	(3)
Sight singing	304	(8)
Melody: Chromaticism (III): Additional Uses of Chromatic Tones; Remote Modulation	312	(16)
Chromatic tones	312	(11)
The Neopolitan Sixth	323	(5)
Remote modulation	328	(1)
PART IV THE MEDIEVAL MODES AND TWENTIETH-CENTURY MUSIC
Melody: The Medieval Modes	328	(19)
Folk music	329	(8)
Composed music	337	(10)
Twentieth-Century Melody	347	(34)
(R). Meter and rhythm. Rhythmic reading	348	(4)
Twentieth-century melodic lines	352	(18)
Duets	370	(11)
Appendix: Musical Terms	381