Music for Sightsinging / Edition 6by Robert W. Ottman
Pub. Date: 07/14/2003
Publisher: Prentice Hall
The study of sight singing is one of the most important means of developing the ability to recognize ("to hear") mentally the sound of music notation on the printed page without the necessity of recourse to a musical instrument. For the professional musician, performer, or teacher, this skill is a necessity, while for others, achievement will greatly amplify the
The study of sight singing is one of the most important means of developing the ability to recognize ("to hear") mentally the sound of music notation on the printed page without the necessity of recourse to a musical instrument. For the professional musician, performer, or teacher, this skill is a necessity, while for others, achievement will greatly amplify the pleasures of musical activity in performance and listening.
To achieve success in sight singing, students must have large numbers of melodies available for practice. Once a melody has been sung, repetition is no longer "singing at first sight," although reviewing for study purposes is highly recommended. To this end, this volume includes 1,199 examples. Most of these are chosen from worldwide folk sources and a wide variety of composed music, ranging from melodies simpler than Twinkle, Twinkle, Little Star to excerpts from Bartok string quartets. The remaining examples, written by the author, provide practice for rhythm alone, and for singing melodies composed only of adjacent scale steps, valuable for initial study but rarely found in music literature.
Each chapter presents only one new problem, either in rhythm or in melody, allowing students to concentrate on the newly introduced feature. Otherwise, no chapter will include any material not already presented in earlier chapters. For the dedicated student, this careful selection and grading of melodies guarantees steady and rewarding progress to a successful accomplishment of sight singing skills. Some of the changes in the new edition include:
- Additional melodies incorporating modulation and other uses of chromaticism.
- In manychapters, order of materials reorganized to reflect a better sequence from easy to more difficult.
- Revised and/or added materials in introductory statements, especially in the subjects of the hemiola, melodic use of the Neapolitan sixth harmony, and twentieth-century music.
- Numerous new melodies, including a "find" of easy but effective melodies by Schubert, especially in modulation and syncopation.
- Prentice Hall
- Publication date:
- Product dimensions:
- 5.66(w) x 9.18(h) x 0.51(d)
Table of Contents
I. MELODY: DIATONIC INTERVALS. RHYTHM: DIVISION OF THE BEAT.
1. RHYTHM: Simple Time (Meter); The Beat and its Division Into Two Parts.
2. MELODY: Scale-line Melodies. RHYTHM: Simple Time; The Beat and its Division Into Two Parts.
3. MELODY: Intervals from the Tonic Triad, Major Keys. RHYTHM: Simple Time.
4. MELODY: Intervals from the Tonic Triad, Major Keys. RHYTHM: Compound Time; The Beat and its Division into Three Parts.
5. Minor Keys; Intervals from the Tonic Triad. RHYTHM: Simple and Compound Time.
6. Intervals from the Dominant (V) Triad; Major and Minor Keys. RHYTHM: Simple and Compound Time.
7. The C Clefs: Alto and Tenor Clefs.
8. MELODY: Further Use of Diatonic Intervals. RHYTHM: Simple and Compound Time.
9. MELODY: Intervals from the Dominant Seventh Chord V7; Other Diatonic Intervals of the Seventh. RHYTHM: Simple and Compound Time.
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.
11. MELODY: Intervals from the Tonic and Dominant Triads. RHYTHM: Subdivision in Simple and Compound Time.
12. MELODY: Further Use of Diatonic Intervals. RHYTHM: Subdivision in Simple and Compound Time.
III. MELODY: CHROMATICISM. RHYTHM:FURTHER RHYTHMIC PRACTICES.
13. MELODY: Chromaticism (I): Chromatic Nonharmonic Tones; Dominant of the Dominant Harmony (V/V); Modulation to the Key of the Dominant.
14. MELODY: Chromaticism (II): Modulation to Closely Related Keys; Additional Secondary Dominant Harmonies.
15. RHYTHM: Syncopation.
16. RHYTHM and MELODY: Triplet Division of Undotted Note Values; Duplet Division of Dotted Note Values.
17. RHYTHM and MELODY: Changing Time Signatures; The Hemiola; Less Common Time Signatures.
18. RHYTHM and MELODY: Further Subdivision of the Beat; Slow Tempo.
19. MELODY: Chromaticism (III): Additional Uses of Chromatic Tones; Remote Modulation.
IV. THE MEDIEVAL MODES and TWENTIETH-CENTURY MUSIC.
20. MELODY: The Medieval Modes.
21. Twentieth Century Music.
Appendix: Musical Terms.
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