Progressive Sight Singing / Edition 2

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Overview

Ideal for undergraduate courses in aural skills, Progressive Sight Singing introduces students to the underlying grammar and syntax of musical structure and prepares them to perceive that structure with both the ear and the eye. Working from the premise that students learn musical skills in much the same order as they do language skills, this book employs a unique pedagogical structure that introduces the concept of sound before sight. It trains the ear first - through hearing and imitating patterns - teaching students to hear and perform before they read and write.
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Editorial Reviews

From the Publisher

"At last, a wholistic pedagogical approach to ear training. Parceled as mini-steps for learning.... Flawless organization and understanding how humans develop new aspects within comfortable territory."--Dennis B. Plies, Warner Pacific College

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Product Details

  • ISBN-13: 9780195386042
  • Publisher: Oxford University Press, USA
  • Publication date: 6/11/2010
  • Format: Spiral Bound
  • Edition number: 2
  • Pages: 592
  • Sales rank: 408,666
  • Product dimensions: 9.10 (w) x 10.90 (h) x 0.90 (d)

Meet the Author

Carol Krueger received a DMA in Choral Conducting from the University of Miami and has taught in public schools as well as in higher education. An active clinician and guest conductor, Dr. Krueger is widely recognized for her work with music literacy and has presented interest sessions at the American Choral Directors National Convention in New York, the ACDA Southern Division Convention in Nashville, and at MENC and ACDA state conventions throughout the United States.

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Table of Contents

To the Instructor
To the Student
An Introduction to the Musical Literacy Process
Strategies For Successful Sight Singing
Building Musicianship and Independency

PART I: RHYTHMIC READING

1. Simple Meter — Quarter Note = Beat Unit; Undivided Beat
1.1 Building Aural/Oral Skills
Beat, Tempo, Meter, Duple Meter, Triple Meter, Quadruple Meter, Rhythm
1.2 Symbolic Association
Score Notation, Whole Note/Rest, Half Note/Rest, Quarter Note/Rest, Meter Signature, Bar Lines, Double Bar Line
1.3 Rhythm Patterns
1.4 Exercises
Canon, Retrograde Canon, Anacrusis, Bracket

2. Simple Meter — Quarter Note = Beat Unit; Divided Beat
2.1 Building Aural/Oral Skills
Macro Beat, Micro Beat
2.2 Symbolic Association
Motive, Eighth Note/Rest, Flag, Beam
2.3 Rhythm Patterns
2.4 Exercises
Common Time

3. Simple Meter — Quarter Note = Beat Unit; Slur, Tie, and Extension Dot
3.1 Building Aural/Oral Skills
Tie, Extension Dot/Augmentation Dot, Slur, Legato, Phrase
3.2 Symbolic Association
3.3 Rhythm Patterns
3.4 Exercises

4. Terms and Symbols
4.1 Symbolic Association: Performance Markings
Interruptions in the Beat: Breath Mark, Fermata, Tenuto, Caesura, General Pause;
Tempo Markings: Adagio, Andante, Moderato, Allegretto, Allegro, Metronome, M.M.;
Changes in Tempo: Ritardando, Ritenuto, Accelerando, A Tempo, poco, poco à poco;
Dynamic Markings: Pianissimo, Piano, Mezzo Piano, Mezzo Forte, Forte, Fortissimo;
Changes in Tempo: Crescendo, Decrescendo, Diminuendo;
Articulation: Staccato, Accent;
Technical Terms: Repeat Sign, First and Second Endings
4.2 Exercises

5. Compound Meter — Dotted Quarter = Beat Unit; Divided Beat
5.1 Building Aural/Oral Skills
Simple Meter, Duple Simple, Triple Simple, Quadruple Simple, Compound Meter, Duple Compound, Triple Compound, Quadruple Compound
5.2 Symbolic Association
5.3 Rhythm Patterns
5.4 Exercises

6. Simple Meter — Quarter Note = Beat Unit; Borrowed Beat Division
6.1 Building Aural/Oral Skills
Borrowed Division, Triplet, Duplet, Cross-Rhythms
6.2 Symbolic Association
6.3 Rhythm Patterns
6.4 Exercises

7. Simple Meter — Quarter Note = Beat Unit; Syncopation
7.1 Building Aural/Oral Skills
Syncopation, Dynamic Accent, Agogic Accent
7.2 Symbolic Association
7.3 Rhythm Patterns
7.4 Exercises

8. Simple Meter — Quarter Note = Beat Unit; Subdivided Beat
8.1 Building Aural/Oral Skills
Beat Subdivision
8.2 Symbolic Association
8.3 Rhythm Patterns
8.4 Exercises

9. More Terms and Symbols
9.1 Symbolic Association: Performance Markings
Tempo Markings: Largo, Lento, Vivace, Presto;
Changes in Tempo: Rallentando, Rubato, Con Moto, Meno Mosso;
Character Terms: Cantabile, Dolce, Maestoso, Con Brio, Agitato;
Dynamics: Sforzando, Sforzando-piano, Forte-piano; Articulation: Marcato;
Other Terms: Subito, Più, Molto;
Technical Terms: Da Capo, Dal Segno, Sign, Fine, Coda
9.2 Exercises

10. Simple Meter — Quarter Note = Beat Unit; More Rhythms with Borrowed Beat Division
10.1 Building Aural/Oral Skills
10.2 Symbolic Association
10.3 Rhythm Patterns
10.4 Exercises

11. Simple Meter — Quarter Note = Beat Unit; More Rhythms with Syncopations
11.1 Building Aural/Oral Skills
11.2 Symbolic Association
11.3 Rhythm Patterns
11.4 Exercises

12. Simple Meter — Quarter Note = Beat Unit; More Rhythms with Subdivided Beat
12.1 Building Aural/Oral Skills
12.2 Symbolic Association
12.3 Rhythm Patterns
12.4 Exercises

13. Simple Meter — Half Note = Beat Unit
13.1 Symbolic Association
Alla Breve, Cut Time, Double Whole Note/Rest
13.2 Rhythm Patterns
13.3 Exercises

14. Simple Meter — Eighth Note = Beat Unit
14.1 Symbolic Association
14.2 Rhythm Patterns
14.3 Exercises

15. Compound Meter — Dotted Quarter = Beat Unit; More Rhythms
15.1 Building Aural/Oral Skills
15.2 Symbolic Association
15.3 Rhythm Patterns
15.4 Exercises

16. Compound Meter — Dotted Half Note = Beat Unit
16.1 Symbolic Association
16.2 Rhythm Patterns
16.3 Exercises

17. Compound Meter — Dotted Eighth Note = Beat Unit
17.1 Symbolic Association
17.2 Rhythm Patterns
17.3 Exercises

18. Simple Meter — Irregular Division of Beat
18.1 Building Aural/Oral Skills
18.2 Symbolic Association
Triplets, Quintuplets, Sextuplets, Septuplets, Measured Tremolo
18.3 Rhythm Patterns and Exercises: Quarter Note = Beat Unit
18.4 Exercises: Other Simple Meters

19. Compound Meter — Irregular Division of Beat
19.1 Building Aural/Oral Skills
19.2 Symbolic Association
Duplets, Quadruplets, Quintuplets, Septuplets
19.3 Rhythm Patterns and Exercises: Dotted Quarter Note = Beat Unit
19.4 Exercises: Other Compound Meters

20. Hemiola and Cross Rhythms
20.1 Symbolic Association: Hemiola, 2:3, 3:2
Hemiola, Superduplet, Supertriplet
20.2 Exercises: Hemiola, 2:3, 3:2
20.3 Symbolic Association: 3:4, 4:3, 2:5
Superquadruplet
20.4 Exercises: 3:4, 4:3, 2:5

21. Asymmetrical Meters
21.1 Symbolic Association
21.2 Rhythm Patterns and Exercises: Beat Constant
21.3 Rhythm Patterns and Exercises: Beat Division Constant

22. Mixed Meters
22.1 Symbolic Association
22.2 Exercises

PART II: MELODIC READING

1. Tonic Pentachord in Major Mode; Simple Meters, Undivided Beat
1.1 Building Aural/Oral Skills: Diatonic Steps
Pentachord Scale, Intervals, Tonic Triad, Tertian, Root, Third, Fifth, Chord, Harmony, Arpeggio
1.2 Symbolic Association: Diatonic Steps
Score Notation, Staff, Line Note, Space Note, Second, Fourth
1.3 Tonal and Melodic Patterns: Diatonic Steps
1.4 Exercises: Diatonic Steps
1.5 Building Aural/Oral Skills: Tonic Triad
1.6 Symbolic Association: Tonic Triad
1.7 Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad
Root, Third, Fifth, Chord, Arpeggio
1.8 Exercises: Diatonic Steps, Tonic Triad
Clef Signs, Treble Clef, Bass Clef, Musical Alphabet, Key Signature, Hocket

2. Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Undivided Beat
2.1 Building Aural/Oral Skills: Diatonic Steps
Major Scale, Diatonic, Non-diatonic, Intervals from Tonic, Scale Degrees, Unison, Prime
2.2 Symbolic Association: Diatonic Steps
Supertonic, Mediant, Subdominant, Dominant, Submediant, Leading Tone
2.3 Tonal and Melodic Patterns: Diatonic Steps
2.4 Exercises: Diatonic Steps
Ledger Lines
2.5 Building Aural/Oral Skills: Diatonic Steps, Tonic Triad
Half Step, Semi-tone, Whole Step, Inverted Tonic Triads, Intervals of a Fourth
2.6 Symbolic Association: Diatonic Steps, Tonic Triad
Major Key Signature, Harmonic Triad, Melodic Triad
2.7 Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad
2.8 Exercises: Diatonic Steps, Tonic Triad

3. Diatonic Steps and Tonic Triad in the Natural Minor Scale; Simple Meters, Undivided Beat
3.1 Building Aural/Oral Skills: Diatonic Steps, Tonic Triad
Natural Minor Scale, Tonic Triad, Intervals from Tonic
3.2 Symbolic Association: Diatonic Steps, Tonic Triad
Minor Key Signatures, Subtonic
3.3 Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad
3.4 Exercises: Diatonic Steps, Tonic Triad

4. Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Divided Beat
4.1 Integrating Rhythm and Tonal Skills: Major Mode
Quality and Quantity of Intervals From Tonic
4.2 Symbolic Association: Major Mode
4.3 Melodic Patterns: Major Mode
4.4 Exercises: Major Mode

5. Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Dotted Quarter Notes
5.1 Integrating Rhythm and Tonal Skills: Major Mode
Major and Minor Thirds, Perfect and Augmented Fourths in the Major Scale, Triads Built on Each Scale Degree
5.2 Symbolic Association: Major Mode
Motive, Sequence, Phrase, Melodic Cadence, Progressive Cadence, Terminal Cadence, Through-Composed
5.3 Melodic Patterns: Major Mode
5.4 Exercises: Major Mode

6. Natural Minor Scale; Simple Meters, Eighth and Dotted Quarter Notes
6.1 Building Aural/Oral Skills: Natural Minor Scale
Intervals from Tonic; Major and Minor Thirds, Perfect and Augmented Fourths, Triads Built on Each Scale Degree; Major, Minor, and Diminished Triads
6.2 Symbolic Association: Natural Minor Scale
6.3 Tonal and Melodic Patterns: Natural Minor Scale
6.4 Exercises: Natural Minor Scale

7. Harmonic and Melodic Minor Scales; Simple Meters, Eighth and Dotted Quarter Notes
7.1 Building Aural/Oral Skills: Harmonic Minor Scale
Intervals from Tonic; Major and Minor Thirds, Perfect and Augmented Fourths, Triads Built on Each Scale Degree, Augmented Triad
7.2 Symbolic Association: Harmonic Minor Scale
7.3 Tonal and Melodic Patterns: Harmonic Minor Scale
7.4 Exercises: Harmonic Minor Scale
7.5 Building Aural/Oral Skills: Melodic Minor Scale
Intervals from Tonic; Major and Minor Thirds, Perfect and Augmented Fourths
7.6 Symbolic Association: Melodic Minor Scale
7.7 Tonal and Melodic Patterns: Melodic Minor Scale
7.8 Exercises: Melodic Minor Scale
7.9 Exercises: Intervals in Tonic Triad (i) and Mediant Triad (III)/Relative Major

8. Major and Minor Modes; Compound Meters — Dotted Quarter = Beat Unit
8.1 Integrating Rhythm and Tonal Skills: Major Mode
8.2 Symbolic Association: Major Mode
8.3 Melodic Patterns: Major Mode
8.4 Exercises: Major Mode
8.5 Integrating Rhythm and Tonal Skills: Minor Mode
8.6 Symbolic Association: Minor Mode
8.7 Melodic Patterns: Minor Mode
8.8 Exercises: Minor Mode
8.9 Exercises: Intervals in Tonic Triad (i) and Major Triad (III)/Relative Major

9. I and V7 in Major Mode; Simple and Compound Meters
9.1 Building Aural/Oral Skills: Dominant Triad, Major Mode
Chromatic Scale, Ascending and Descending Intervals Moving Out From the Tonic in the Major Scale, Dominant Triad, First Inversion Triads Built on Each Degree of the Major Scale
9.2 Symbolic Association: Dominant Triad, Major Mode
Chord Tone, Neighbor Tone, Passing Tone
9.3 Tonal Patterns: Dominant Triad, Major Mode
9.4 Exercises: Dominant Triad, Major Mode, Simple Meters
9.5 Building Aural/Oral Skills: Dominant Seventh Chord, Major Mode
Dominant Seventh Chord, Third Inversion, Second Inversion Triads Built on Each Degree of the Major Scale
9.6 Symbolic Association: Dominant Seventh Chord, Major Mode
9.7 Tonal Patterns: Dominant Seventh Chord, Major Mode
9.8 Exercises: Dominant Seventh Chord, Major Mode, Simple Meters
9.9 Exercises: Dominant and Dominant Seventh, Major Mode, Compound Meters

10. i and V7 in Minor Mode; Simple and Compound Meters
10.1 Building Aural/Oral Skills: Dominant Triad, Minor Mode
Ascending and Descending Intervals Moving Out from the Tonic in the Natural Minor Scale, Dominant Triad in Minor, First Inversion Triads Built on Each Degree of the Minor Scales
10.2 Symbolic Association: Dominant Triad, Minor Mode
10.3 Tonal Patterns: Dominant Triad, Minor Mode
10.4 Exercises: Dominant Triad, Minor Mode, Simple Meters
10.5 Building Aural/Oral Skills: Dominant Seventh Chord, Minor Mode
Dominant Seventh Chord, Third Inversion, Second Inversion Triads Built on Each Degree of the Minor Scale
10.6 Symbolic Association: Dominant Seventh Chord, Minor Mode
10.7 Tonal Patterns: Dominant Seventh Chord, Minor Mode
10.8 Exercises: Dominant Seventh Chord, Minor Mode, Simple Meters
10.9 Exercises: Dominant and Dominant Seventh, Minor Mode, Compound Meters

11. I and V7 in Major Mode; Other Rhythms in Simple Meters
11.1 Integrating Rhythm and Tonal Skills: Major Mode
Chromatic Intervals
11.2 Symbolic Association
11.3 Melodic Patterns and Exercises: Triplets, Tonic Only
11.4 Melodic Patterns and Exercises: Syncopation, Tonic Only
11.5 Melodic Patterns and Exercises: Subdivided Beat, Tonic Only
11.6 Exercises: Combined Rhythms, Tonic Only
11.7 Exercises: Combined Rhythms, Tonic and Dominant

12. i and V7 in Minor Mode; Other Rhythms in Simple Meters
12.1 Integrating Rhythm and Tonal Skills: Minor Mode
12.2 Symbolic Association
12.3 Melodic Patterns and Exercises: Triplets, Tonic Only
12.4 Melodic Patterns and Exercises: Syncopation, Tonic Only
12.5 Melodic Patterns and Exercises: Subdivided Beat, Tonic Only
12.6 Exercises: Combined Rhythms, Tonic Only
12.7 Exercises: Combined Rhythms, Tonic and Dominant

13. I and V7 in Major and Minor Modes; Half Note = Beat Unit
13.1 Integrating Rhythm and Tonal Skills: Major and Minor Modes
13.2 Symbolic Association
13.3 Melodic Patterns and Exercises: Major Mode, Tonic Only
13.4 Exercises: Major Mode, Tonic and Dominant
13.5 Melodic Patterns and Exercises: Minor Mode, Tonic Only
13.6 Exercises: Minor Mode, Tonic and Dominant

14. I and V7 in Major and Minor Modes; Eighth Note = Beat Unit
14.1 Integrating Rhythm and Tonal Skills: Major and Minor Modes
Ascending and Descending Chromatic Intervals Moving Out From Tonic
14.2 Symbolic Association
14.3 Melodic Patterns and Exercises: Major Mode, Tonic Only
14.4 Exercises: Major Mode, Tonic, and Dominant
14.5 Melodic Patterns and Exercises: Minor Mode, Tonic Only
14.6 Exercises: Minor Mode, Tonic, and Dominant

15. I and V7 in Major and Minor; Compound Meters — More Rhythms
15.1 Integrating Rhythm and Tonal Skills: Major and Minor Modes
Major, Minor, Augmented, and Diminished Triads
15.2 Symbolic Association
15.3 Melodic Patterns and Exercises: Major Mode, Tonic Only
15.4 Exercises: Major Mode, Tonic and Dominant
15.5 Melodic Patterns and Exercises: Minor Mode, Tonic Only
15.6 Exercises: Minor Mode, Tonic and Dominant

16. The Moveable C Clefs
16.1 Symbolic Association
C Clefs: Soprano, Mezzo-Soprano, Alto, Tenor, Baritone
16.2 Exercises: Major and Minor Modes, Tonic and Dominant

17. I, IV, and V7 in Major Mode; Simple and Compound Meters
17.1 Building Aural/Oral Skills: Sub-Dominant Triad, Major Mode
Subdominant Triad in Major
17.2 Symbolic Association
17.3 Tonal Patterns: Subdominant Triad, Major Mode
17.4 Exercises: I, IV, V7, Major Mode, Simple Meters
17.5 Exercises: I, IV, V7, Major Mode, Compound Meters

18. i, iv, and V7 in Minor Mode; Simple and Compound Meters
18.1 Building Aural/Oral Skills: Subdominant Triad, Minor Mode
Subdominant Triad in Minor
18.2 Symbolic Association
18.3 Tonal Patterns: Subdominant Triad, Minor Mode
18.4 Exercises: i, iv, IV, and V7, Minor Mode, Simple Meters
18.5 Exercises: i, iv, IV, and V7, Minor Mode, Compound Meters

19. Other Diatonic Triads and Seventh Chords in Major and Minor Modes
19.1 Building Aural/Oral Skills: Diatonic Seventh Chords in Major Mode
Seventh Chords
19.2 Symbolic Association
19.3 Tonal Patterns: ii, iii, vi, vii°, Major Mode
19.4 Exercises: ii, iii, vi, vii°, Major Mode
19.5 Building Aural/Oral Skills: Diatonic Seventh Chords in Minor Mode
19.6 Symbolic Association
19.7 Tonal Patterns: ii°, III, VI, VII, Minor Mode
19.8 Exercises: ii°, III, VI, VII, Minor Mode

20. Chromaticism: Nonharmonic Tones
20.1 Building Aural/Oral Skills
Chromaticism, Nonharmonic Tones
20.1 Symbolic Association
20.2 Tonal Patterns
Major Mode
Minor Mode
20.3 Exercises

21. Chromaticism: Secondary Dominants
21.1 Building Aural/Oral Skills
Tonicization, Secondary Dominants
21.2 Symbolic Association
21.3 Tonal Patterns and Exercises: Raised Fourth Scale Degree, Major Mode
21.4 Tonal Patterns and Exercises: Raised Fourth Scale Degree, Minor Mode
21.5 Tonal Patterns and Exercises: Lowered Seventh Scale Degree, Major Mode
21.6 Tonal Patterns and Exercises: Raised Tonic, Major Mode
21.7 Tonal Patterns and Exercises: Raised Second Scale Degree, Major Mode
21.8 Tonal Patterns and Exercises: Raised Third Scale Degree, Minor Mode
21.9 Exercises: Secondary Dominants and Nonharmonic Tones

22. Chromaticism: Modulation
22.1 Symbolic Association
Modulation, Closely Related Keys, Distantly Related Keys, Neapolitan Triad
22.2 Exercises: Modulation to the Dominant
22.3 Exercises: Modulation to Closely Related Keys
22.4 Exercises: Remote Modulation

23. Chromaticism: Modulation
23.1 Building Aural/Oral Skills
Modal Mixture, Parallel Scales, Neapolitan Triad
23.2 Symbolic Association
23.3 Patterns: Modal Mixture
23.4 Exercises: Modal Mixture
23.5 Exercises: Neapolitan Triad

24. Modes
24.1 Symbolic Association: Diatonic Seven-Tone Scales
Medieval Modes, Church Modes, Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian
24.2 Exercises

Appendix A: Rhythm Reading Systems
Overview of Systems
Gordon Syllables
Takademi Syllables
McHose and Tibbs Syllables
Kodály Syllables
Rhythm Syllable Charts
Gordon Syllables
Takademi Syllables
McHose and Tibbs Syllables
Kodály Based Syllables

Appendix B: Tonal Reading Systems
Solmization
Moveable Do
Fixed Do
Numbers
Letter Names
Hand Signs
Tonal Ladder

Appendix C: Dictation System
Rhythm
Simple Meter
Compound Meter
Tonal
Melodic

Appendix D: Conducting Patterns

Appendix E: Glossary of Musical Terms

Index

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