Music for Sightsinging / Edition 6by Robert W. Ottman
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… See more details below
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
|1||Melody: Scale-Line Movement, Major Keys||1|
|2||Melody: Intervals from the Tonic Triad, Major Keys||21|
|3||Melody: Intervals from the Tonic Triad, Major Keys||38|
|4||Melody: Minor Keys; Intervals from the Tonic Triad||53|
|5||Melody: Intervals from the Dominant (V) Triad; Major and Minor Keys||64|
|6||The C Clefs: Alto and Tenor Clefs||83|
|7||Melody: Further Use of Diatonic Intervals||94|
|8||Melody: Intervals from the Dominant Seventh Chord (V[superscript 7]); Other Diatonic Intervals of the Seventh||110|
|9||Rhythm: The Subdivision of the Beat; the Simple Beat into Four Parts; the Compound Beat into Six Parts||122|
|10||Melody: Intervals from the Tonic and Dominant Triads||133|
|11||Melody: Further Use of Diatonic Intervals||140|
|12||Melody: Chromaticism (I): Chromatic Tones; the Dominant of the Dominant (V/V) Harmony; Modulation to the Key of the Dominant||158|
|13||Melody: Chromaticism (II): Modulation to Closely Related Keys; Additional Secondary Dominant Harmonies||179|
|15||Rhythm: Triplet Division of Undotted Note Values; Duplet Division of Dotted Note Values||236|
|16||Rhythm: Changing Time Signatures; the Hemiola; Less Common Time Signatures||260|
|17||Rhythm: Further Subdivision of the Beat; Notation in Slow Tempi||280|
|18||Melody: Chromaticism (III): Additional Uses of Chromatic Tones; Remote Modulation||292|
|19||Melody: The Medieval Modes||309|
|Appendix: Musical Terms||357|
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