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|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|
To become successful in reading rhythm and singing pitches at sight, one must have at hand a considerable amount of material, for the simple reason that after the initial performance of an exercise, its repetition cannot again be considered singing at sight. That the sight-singing materials will provide a musical satisfaction greater than from routine exercises, the melodies included in this text are carefully chosen from the literature of composed music and from a wide range of the world's folk music. Music examples written especially for pedagogical purposes are kept to a minimum.
The materials chosen are so graded that the student is presented with just one musical problem, rhythmic or melodic, at a time. No example includes any element not already presented, allowing the student to progress easily from the simplest to the most complex materials. To facilitate each new presentation in either element—pitch or rhythm—the opening examples of each chapter make use only of the simplest materials of the other element.
Prerequisite to the study of sight singing is a working knowledge of some of the basic aspects of music theory, these often taught under titles beginning with "Introduction," "Rudiments," or "Fundamentals".' In the area of pitch, these are especially important: (1) the ability to spell, write, and sing all major and minor scales, (2) the ability to write all major and minor key signatures, and (3) the ability to recognize the key from the given key signature. In the area of rhythm, a knowledge of note values and the interpretation of time (meter) signatures is necessary. Much of this information will be reviewed in variouschapters of this text. However, bringing to the opening studies a comprehensive and usable knowledge of these basic materials will guarantee more immediate accomplishment of sight-reading goals.
The text as a whole may be considered as consisting of four parts:
This organization of the text allows a choice in the order of presentation, either straight through or selective. For an example of the latter, upon completion of Chapter 5 (intervals from the tonic triad in major and minor keys, and rhythm problems in divided beat patterns only), study may continue with Chapter 10, rhythmic reading in subdivided beat patterns. Then in Chapter 11, melodies are again either scale-wise or display intervals in known contexts. Study then may even be continued with easier melodies of Chapter 20, Medieval Modes. A careful study of the table of contents will reveal many similar possibilities.
Major changes in this fifth edition include the following.
Major changes in previous editions have been retained in the present edition. These, among others, include melodies using only diatonic scale lines for the first sight singing experience, the inclusion of two-voice rhythmic and melodic examples, the study of the melodic use of secondary dominant harmony as an introduction to the sight-singing of modulation, and rhythmic and melodic examples helpful in the study of twentieth-century melody.
Robert W. Ottman