Progressive Sight Singing
ISBN: 9780195386042 | 0195386043
Edition: 2ndFormat: Spiral Bound
Publisher: Oxford University Press, USA
Pub. Date: 6/11/2010
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Designed for the complete undergraduate course sequence in aural skills, Progressive Sight Singing, Second Edition, 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 premisethat students learn musical skills in much the same order as they do language skills, this book trains the ear first - through hearing and imitating patterns - teaching students to hear and perform before they read and write. Part I presents rhythmic exerc... MORE
| To the Instructor | |
| To the Student | |
| An Introduction to the Musical Literacy Process | |
| Strategies For Successful Sight Singing | |
| Building Musicianship and Independency | |
| Rhythmic Reading | |
| Simple Meter-Quarter Note = Beat Unit | |
| Undivided Beat | |
| Building Aural/Oral Skills | |
| Beat, Tempo, Meter, Duple Meter, Triple Mete... MORE | |
| Symbolic Association | |
| Score Notation, Whole Note/Rest, Half Note/Rest, Quarter Note/Rest, Meter Signature | |
| Bar Lines, Double Bar Line | |
| Rhythm Patterns | |
| Exercises | |
| Canon, Retrograde Canon, Anacrusis, Bracket | |
| Simple Meter- Quarter Note = Beat Unit | |
| Divided Beat | |
| Building Aural/Oral Skills | |
| Macro Beat, Micro Beat | |
| Symbolic Association | |
| Motive, Eighth Note/Rest, Flag, Beam | |
| Rhythm Patterns | |
| Exercises | |
| Common Time | |
| Simple Meter- Quarter Note = Beat Unit | |
| Slur, Tie, and Extension Dot | |
| Building Aural/Oral Skills | |
| Tie, Extension Dot/Augmentation Dot, Slur, Legato, Phrase | |
| Symbolic Association | |
| Rhythm Patterns | |
| Exercises | |
| Terms and Symbols | |
| 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 ŕ 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 | |
| Exercises | |
| Compound Meter-Dotted Quarter = Beat Unit | |
| Divided Beat | |
| Building Aural/Oral Skills | |
| Simple Meter, Duple Simple, Triple Simple, Quadruple Simple, Compound Meter | |
| Duple Compound, Triple Compound, Quadruple Compound | |
| Symbolic Association | |
| Rhythm Patterns | |
| Exercises | |
| Simple Meter- Quarter Note = Beat Unit | |
| Borrowed Beat Division | |
| Building Aural/Oral Skills | |
| Borrowed Division, Triplet, Duplet, Cross-Rhythms | |
| Symbolic Association | |
| Rhythm Patterns | |
| Exercises | |
| Simple Meter- Quarter Note = Beat Unit | |
| Syncopation | |
| Building Aural/Oral Skills | |
| Syncopation, Dynamic Accent, Agogic Accent | |
| Symbolic Association | |
| Rhythm Patterns | |
| Exercises | |
| Simple Meter- Quarter Note = Beat Unit | |
| Subdivided Beat | |
| Building Aural/Oral Skills | |
| Beat Subdivision | |
| Symbolic Association | |
| Rhythm Patterns | |
| Exercises | |
| More Terms and Symbols | |
| 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, Piů, Molto | |
| Technical Terms: Da Capo, Dal Segno, Sign, Fine, Coda | |
| Exercises | |
| Simple Meter- Quarter Note = Beat Unit | |
| More Rhythms with | |
| Borrowed Beat Division | |
| Building Aural/Oral Skills | |
| Symbolic Association | |
| Rhythm Patterns | |
| Exercises | |
| Simple Meter- Quarter Note = Beat Unit | |
| More Rhythms with Syncopations | |
| Building Aural/Oral Skills | |
| Symbolic Association | |
| Rhythm Patterns | |
| Exercises | |
| Simple Meter- Quarter Note = Beat Unit | |
| More Rhythms with Subdivided Beat | |
| Building Aural/Oral Skills | |
| Symbolic Association | |
| Rhythm Patterns | |
| Exercises | |
| Simple Meter- Half Note = Beat Unit | |
| Symbolic Association | |
| Alla Breve, Cut Time, Double Whole Note/Rest | |
| Rhythm Patterns | |
| Exercises | |
| Simple Meter- Eighth Note = Beat Unit | |
| Symbolic Association | |
| Rhythm Patterns | |
| Exercises | |
| Compound Meter-Dotted Quarter = Beat Unit | |
| More Rhythms | |
| Building Aural/Oral Skills | |
| Symbolic Association | |
| Rhythm Patterns | |
| Exercises | |
| Compound Meter-Dotted Half Note = Beat Unit | |
| Symbolic Association | |
| Rhythm Patterns | |
| Exercises | |
| Compound Meter-Dotted Eighth Note = Beat Unit | |
| Symbolic Association | |
| Rhythm Patterns | |
| Exercises | |
| Simple Meter-Irregular Division of Beat | |
| Building Aural/Oral Skills | |
| Symbolic Association | |
| Triplets, Quintuplets, Sextuplets, Septuplets, Measured Tremolo | |
| Rhythm Patterns and Exercises: Quarter Note = Beat Unit | |
| Exercises: Other Simple Meters | |
| Compound Meter-Irregular Division of Beat | |
| Building Aural/Oral Skills | |
| Symbolic Association | |
| Duplets, Quadruplets, Quintuplets, Septuplets | |
| Rhythm Patterns and Exercises: Dotted Quarter Note = Beat Unit | |
| Exercises: Other Compound Meters | |
| Hemiola and Cross Rhythms | |
| Symbolic Association: Hemiola, 2:3, 3:2 | |
| Hemiola, Superduplet, Supertriplet | |
| Exercises: Hemiola, 2:3, 3:2 | |
| Symbolic Association: 3:4, 4:3, 2:5 | |
| Superquadruplet | |
| Exercises: 3:4, 4:3, 2:5 | |
| Asymmetrical Meters | |
| Symbolic Association | |
| Rhythm Patterns and Exercises: Beat Constant | |
| Rhythm Patterns and Exercises: Beat Division Constant | |
| Mixed Meters | |
| Symbolic Association | |
| Exercises | |
| Melodic Reading | |
| Tonic Pentachord in Major Mode | |
| Simple Meters, Undivided Beat | |
| Building Aural/Oral Skills: Diatonic Steps | |
| Pentachord Scale, Intervals, Tonic Triad, Tertian, Root, Third, Fifth, Chord, Harmony, Arpeggio | |
| Symbolic Association: Diatonic Steps | |
| Score Notation, Staff, Line Note, Space Note, Second, Fourth | |
| Tonal and Melodic Patterns: Diatonic Steps | |
| Exercises: Diatonic Steps | |
| Building Aural/Oral Skills: Tonic Triad | |
| Symbolic Association: Tonic Triad | |
| Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad | |
| Root, Third, Fifth, Chord, Arpeggio | |
| Exercises: Diatonic Steps, Tonic Triad | |
| Clef Signs, Treble Clef, Bass Clef, Musical Alphabet, Key Signature, Hocket | |
| Diatonic Steps and Tonic Triad in the Major Scale | |
| Simple Meters | |
| Undivided Beat | |
| Building Aural/Oral Skills: Diatonic Steps | |
| Major Scale, Diatonic, Non-diatonic, Intervals from Tonic, Scale Degrees, Unison, Prime | |
| Symbolic Association: Diatonic Steps | |
| Supertonic, Mediant, Subdominant, Dominant, Submediant, Leading Tone | |
| Tonal and Melodic Patterns: Diatonic Steps | |
| Exercises: Diatonic Steps | |
| Ledger Lines | |
| Building Aural/Oral Skills: Diatonic Steps, Tonic Triad | |
| Half Step, Semi-tone, Whole Step, Inverted Tonic Triads, Intervals of a Fourth | |
| Symbolic Association: Diatonic Steps, Tonic Triad | |
| Major Key Signature, Harmonic Triad, Melodic Triad | |
| Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad | |
| Exercises: Diatonic Steps, Tonic Triad | |
| Diatonic Steps and Tonic Triad in the Natural Minor Scale | |
| Simple Meters | |
| Undivided Beat | |
| Building Aural/Oral Skills: Diatonic Steps, Tonic Triad | |
| Natural Minor Scale, Tonic Triad, Intervals from Tonic | |
| Symbolic Association: Diatonic Steps, Tonic Triad | |
| Minor Key Signatures, Subtonic | |
| Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad | |
| Exercises: Diatonic Steps, Tonic Triad | |
| Diatonic Steps and Tonic Triad in the Major Scale | |
| Simple Meters, Divided Beat | |
| Integrating Rhythm and Tonal Skills: Major Mode | |
| Quality and Quantity of Intervals From Tonic | |
| Symbolic Association: Major Mode | |
| Melodic Patterns: Major Mode | |
| Exercises: Major Mode | |
| Diatonic Steps and Tonic Triad in the Major Scale | |
| Simple Meters | |
| Dotted Quarter Notes | |
| 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 | |
| Symbolic Association: Major Mode | |
| Motive, Sequence, Phrase, Melodic Cadence, Progressive Cadence, Terminal Cadence | |
| Through-Composed | |
| Melodic Patterns: Major Mode | |
| Exercises: Major Mode | |
| Natural Minor Scale | |
| Simple Meters, Eighth and Dotted Quarter Notes | |
| 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 | |
| Symbolic Association: Natural Minor Scale | |
| Tonal and Melodic Patterns: Natural Minor Scale | |
| Exercises: Natural Minor Scale | |
| Harmonic, and Melodic Minor Scales | |
| Simple Meters, Eighth and | |
| Dotted Quarter Notes | |
| 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 | |
| Symbolic Association: Harmonic Minor Scale | |
| Tonal and Melodic Patterns: Harmonic Minor Scale | |
| Exercises: Harmonic Minor Scale | |
| Building Aural/Oral Skills: Melodic Minor Scale | |
| Intervals from Tonic | |
| Major and Minor Thirds, Perfect and Augmented Fourths | |
| Symbolic Association: Melodic Minor Scale | |
| Tonal and Melodic Patterns: Melodic Minor Scale | |
| Exercises: Melodic Minor Scale | |
| Exercises: Intervals in Tonic Triad (i) and Mediant Triad (III)/Relative Major | |
| Major and Minor Modes | |
| Compound Meters-Dotted Quarter = Beat Unit | |
| Integrating Rhythm and Tonal Skills: Major Mode | |
| Symbolic Association: Major Mode | |
| Melodic Patterns: Major Mode | |
| Exercises: Major Mode | |
| Integrating Rhythm and Tonal Skills: Minor Mode | |
| Symbolic Association: Minor Mode | |
| Melodic Patterns: Minor Mode | |
| Exercises: Minor Mode | |
| Exercises: Intervals in Tonic Triad (i) and Major Triad (III)/Relative Major | |
| I and V7 in Major Mode | |
| Simple and Compound Meters | |
| 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 | |
| Symbolic Association: Dominant Triad, Major Mode | |
| Chord Tone, Neighbor Tone, Passing Tone | |
| Tonal Patterns: Dominant Triad, Major Mode | |
| Exercises: Dominant Triad, Major Mode, Simple Meters | |
| 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 | |
| Symbolic Association: Dominant Seventh Chord, Major Mode | |
| Tonal Patterns: Dominant Seventh Chord, Major Mode | |
| Exercises: Dominant Seventh Chord, Major Mode, Simple Meters | |
| Exercises: Dominant and Dominant Seventh, Major Mode, Compound Meters | |
| i and V7 in Minor Mode | |
| Simple and Compound Meters | |
| 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 | |
| Symbolic Association: Dominant Triad, Minor Mode | |
| Tonal Patterns: Dominant Triad, Minor Mode | |
| Exercises: Dominant Triad, Minor Mode, Simple Meters | |
| 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 | |
| Symbolic Association: Dominant Seventh Chord, Minor Mode | |
| Tonal Patterns: Dominant Seventh Chord, Minor Mode | |
| Exercises: Dominant Seventh Chord, Minor Mode, Simple Meters | |
| Exercises: Dominant and Dominant Seventh, Minor Mode, Compound Meters | |
| I and V7 in Major Mode | |
| Other Rhythms in Simple Meters | |
| Integrating Rhythm and Tonal Skills: Major Mode | |
| Chromatic Intervals | |
| Symbolic Association | |
| Melodic Patterns and Exercises: Triplets, Tonic Only | |
| Melodic Patterns and Exercises: Syncopation, Tonic Only | |
| Melodic Patterns and Exercises: Subdivided Beat, Tonic Only | |
| Exercises: Combined Rhythms, Tonic Only | |
| Exercises: Combined Rhythms, Tonic and Dominant | |
| i and V7 in Minor Mode | |
| Other Rhythms in Simple Meters | |
| Integrating Rhythm and Tonal Skills: Minor Mode | |
| Symbolic Association | |
| Melodic Patterns and Exercises: Triplets, Tonic Only | |
| Melodic Patterns and Exercises: Syncopation, Tonic Only | |
| Melodic Patterns and Exercises: Subdivided Beat, Tonic Only | |
| Exercises: Combined Rhythms, Tonic Only | |
| Exercises: Combined Rhythms, Tonic and Dominant | |
| I and V7 in Major and Minor Modes | |
| Half Note = Beat Unit | |
| Integrating Rhythm and Tonal Skills: Major and Minor Modes | |
| Symbolic Association | |
| Melodic Patterns and Exercises: Major Mode, Tonic Only | |
| Exercises: Major Mode, Tonic and Dominant | |
| Melodic Patterns and Exercises: Minor Mode, Tonic Only | |
| Exercises: Minor Mode, Tonic and Dominant | |
| I and V7 in Major and Minor Modes | |
| Eighth Note = Beat Unit | |
| Integrating Rhythm and Tonal Skills: Major and Minor Modes | |
| Ascending and Descending Chromatic Intervals Moving Out From Tonic | |
| Symbolic Association | |
| Melodic Patterns and Exercises: Major Mode, Tonic Only | |
| Exercises: Major Mode, Tonic and Dominant | |
| Melodic Patterns and Exercises: Minor Mode, Tonic Only | |
| Exercises: Minor Mode, Tonic and Dominant | |
| I and V7 in Major and Minor | |
| Compound Meters-More Rhythms | |
| Integrating Rhythm and Tonal Skills: Major and Minor Modes | |
| Major, Minor, Augmented and Diminished Triads | |
| Symbolic Association | |
| Melodic Patterns and Exercises: Major Mode, Tonic Only | |
| Exercises: Major Mode, Tonic and Dominant | |
| Melodic Patterns and Exercises: Minor Mode, Tonic Only | |
| Exercises: Minor Mode, Tonic and Dominant | |
| The Moveable C Clefs | |
| Symbolic Association | |
| Exercises: Major and Minor Modes, Tonic and Dominant | |
| I, IV and V7 in Major Mode | |
| Simple and Compound Meters | |
| Building Aural/Oral Skills: Sub-Dominant Triad, Major Mode | |
| Subdominant Triad in Major | |
| Symbolic Association | |
| Tonal Patterns: Subdominant Triad, Major Mode | |
| Exercises: I, IV, V7, Major Mode, Simple Meters | |
| Exercises: I, IV, V7, Major Mode, Compound Meters | |
| i, iv and V7 in Minor Mode | |
| Simple and Compound Meters | |
| Building Aural/Oral Skills: Subdominant Triad, Minor Mode | |
| Subdominant Triad in Minor | |
| Symbolic Association | |
| Tonal Patterns: Subdominant Triad, Minor Mode | |
| Exercises: i, iv, IV, and V7, Minor Mode, Simple Meters | |
| Exercises: i, iv, IV and V7, Minor Mode, Compound Meters | |
| Other Diatonic Triads and Seventh Chords in Major and Minor Modes | |
| Building Aural/Oral Skills: Diatonic Seventh Chords in Major Mode | |
| Seventh Chords | |
| Symbolic Association | |
| Tonal Patterns: ii, iii, vi, vii°, Major Mode | |
| Exercises: ii, iii, vi, vii°, Major Mode | |
| Building Aural/Oral Skills: Diatonic Seventh Chords in Minor Mode | |
| Symbolic Association | |
| Tonal Patterns: ii°, III, VI, VII, Minor Mode | |
| Exercises: ii°, III, VI, VII, Minor Mode | |
| Chromaticism: Nonharmonic Tones | |
| Building Aural/Oral Skills | |
| Chromaticism, Nonharmonic Tones | |
| Symbolic Association | |
| Tonal Patterns | |
| Major Mode: 4, ”7, 1, 2, ”3 | |
| Minor Mode: 4, 3 | |
| Exercises | |
| Chromaticism: Secondary Dominants | |
| Building Aural/Oral Skills | |
| Tonicization, Secondary Dominants | |
| Symbolic Association | |
| Tonal Patterns and Exercises: Raised Fourth Scale Degree, Major Mode | |
| Tonal Patterns and Exercises: Raised Fourth Scale Degree, Minor Mode | |
| Tonal Patterns and Exercises: Lowered Seventh Scale Degree, Major Mode | |
| Tonal Patterns and Exercises: Raised Tonic, Major Mode | |
| Tonal Patterns and Exercises: Raised Second Scale Degree, Major Mode | |
| Tonal Patterns and Exercises: Raised Third Scale Degree, Minor Mode | |
| Exercises: Secondary Dominants and Nonharmonic Tones | |
| Chromaticism: Modulation | |
| Symbolic Association | |
| Modulation, Closely Related Keys, Distantly Related Keys, Neapolitan Triad | |
| Exercises: Modulation to the Dominant | |
| Exercises: Modulation to Closely Related Keys | |
| Exercises: Remote Modulation | |
| Chromaticism: Modulation | |
| Building Aural/Oral Skills | |
| Modal Mixture, Parallel Scales, Neapolitan Triad | |
| Symbolic Association | |
| Patterns: Modal Mixture | |
| Exercises: Modal Mixture | |
| Exercises: Neapolitan Triad | |
| Modes | |
| Symbolic Association: Diatonic Seven-Tone Scales | |
| Medieval Modes, Church Modes, Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian | |
| Exercises | |
| Appendix | |
| 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 | |
| Tonal Reading Systems | |
| Solmization | |
| Moveable Do | |
| Fixed Do | |
| Numbers | |
| Letter Names | |
| Hand Signs | |
| Tonal Ladder | |
| Dictation System | |
| Rhythm | |
| Simple Meter | |
| Compound Meter | |
| Tonal | |
| Melodic | |
| Conducting Patterns | |
| Glossary of Musical Terms | |
| Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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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