Skip to main content

Ear Training and Sight Singing: A Developmental Aural Skills Text

  • Author: Ethier, Glen

Book

$87.25

Special import

Estimated despatch time 2 - 4 weeks

Contents

  • Author's Preface and Acknowledgements
  • Publisher's Preface
  • Part I Basic Diatonic and Rhythmic Material
  • 1
  • Scales
  • The major scale
  • The solfege system
  • Movable do
  • Singing major scales using solfege
  • Curwen hand signs
  • Intervals
  • Seconds and thirds
  • Singing melodic intervals: scale-degree patterns and referential melodies
  • Hearing harmonic seconds and thirds
  • Melody
  • Transcribing scalar melodies
  • Singing scalar melodies using solfege
  • Triads
  • The major triad
  • Singing major triads from the root
  • Rhythm
  • Simple meter: notation and transcription
  • Reading and performing rhythms in simple time
  • Conducting patterns
  • Vocalizing strategies
  • Harmony
  • Tonic dominant: getting the bass line
  • Assignments
  • Assignment 1
  • Online assignment 1
  • Repertoire
  • Scale degree exercises
  • Solfege melodies
  • Rhythms
  • 2
  • Scales
  • The minor scales
  • Singing the natural minor scale
  • The harmonic form of the minor scale
  • Singing the harmonic minor scale
  • Intervals
  • Perfect fourths,fifths, and octaves
  • Melody
  • The tonic triad (I/i)
  • Singing melodies with tonic arpeggios
  • Triads
  • The minor triad
  • Singing minor triads from the root
  • Rhythm
  • Simple: rests
  • Simple: tied notes
  • Transcribing rests and tied notes in simple meter
  • Harmony
  • I, IV, V, and V7 in root position
  • Subdominant harmony (IV and iv)
  • Assignments
  • Assignment 2
  • Online assignment 2
  • Repertoire
  • Scale degree exercises
  • Solfege melodies and duets
  • Rhythms
  • 3
  • Scales
  • The melodic form of the minor scale
  • Singing the melodic minor scale
  • Intervals
  • Major and minor sixths
  • Melody
  • The dominant triad (V) and dominant-seventh chord (V7)
  • Singing melodies with dominant and dominant-seventh arpeggios
  • Triads
  • Singing major and minor triads from the third and fifth
  • Rhythm
  • Compound meters: notation, transcription, and reading
  • Harmony
  • I, IV, V in root position and first inversion, V7 in root position
  • Assignments
  • Assignment 3
  • Online assignment 3
  • Repertoire
  • Scale degree exercises
  • Solfege melodies
  • Solfege duets
  • Rhythms
  • 4
  • Scales
  • More practice with the major scale and all forms of minor scales
  • Intervals
  • Major and minor sevenths
  • Three Methods for Singing Sevenths
  • Melody
  • The subdominant triad (IV and iv)
  • Singing melodies with subdominant arpeggios
  • Triads
  • Isolating outer voices (factors) in major and minor triads
  • Rhythm
  • Compound meter: tied notes and rests
  • Harmony
  • Linear progression: the viio6 harmony
  • Focus: the bass voice
  • The Minor Dominant (v6) in Minor Keys
  • Assignments
  • Assignment 4
  • Online Assignment 4
  • Repertoire
  • Scale degree exercises
  • Solfege melodies
  • Solfege duets
  • Rhythms
  • 5
  • Scales
  • The jazz melodic minor scale
  • Intervals
  • Tritones
  • Singing tritones: referential melodies
  • Melody
  • Tritone leaps
  • Singing melodies with tritone leaps and supertonic arpeggios
  • Triads
  • Outer voices in major and minor triads: alternative doublings
  • Rhythm
  • The anacrusis (upbeat)
  • Compound and simple meters:new beat and division values
  • Harmony
  • Supertonic harmony: ii, ii6, and iio6
  • Submediant (vi/VI) and mediant (iii/III) harmonies
  • The minor supertonic in minor keys
  • Assignments
  • Assignment 5
  • Online assignments 5 and 6
  • Repertoire
  • Scale degrees exercises
  • Solfege melodies
  • Solfege duets
  • Rhythms
  • 6
  • Scales
  • The church modes
  • The Lydian mode
  • Intervals
  • More practice with intervals to the perfect octave
  • Melody
  • Practice melodies for transcription
  • Practice melodies for sight-singing
  • Triads
  • The diminished triad
  • Singing the diminished triad
  • Rhythm
  • More practice with rhythmic transcription
  • Harmony
  • Review of root position and first inversion harmonies
  • Passing and neighbouring tones
  • Special harmonies in minor keys and the subtonic
  • diminished submediant
  • Assignments
  • Assignment 6
  • Online assignment 7 (review) and 8
  • Repertoire
  • Scale-Degree Exercises
  • Solfege melodies
  • Solfege duets
  • Rhythms
  • Part II Intermediate Diatonic and Rhythmic Material
  • 7
  • Scales
  • More practice with Lydian mode
  • Intervals
  • Melodic intervals in series
  • Melody
  • The leading-tone triad (viio)
  • Singing melodies with leading-tone arpeggios
  • Triads
  • The augmented triad
  • Singing the augmented triad
  • Rhythm
  • Simple meter: beat division into four
  • Harmony
  • The passing six-four (P6/4) harmony
  • Assignments
  • Assignment 7
  • Online assignment 9
  • Repertoire
  • Scale degree exercises
  • Solfege melodies
  • Solfege duets
  • Rhythms
  • 8
  • Scales
  • The Mixolydian mode
  • Intervals
  • Harmonic intervals in series
  • Melody
  • Practice melodies for transcription and singing
  • Triads
  • Singing major and minor triads in root position given the third or fifth
  • Identifying outer voices in diminished triads
  • Rhythm
  • Harmony
  • The neighbouring six-four (N6/4) harmony
  • The circle of fifths
  • Assignments
  • Assignment 8
  • Online assignment 10
  • Repertoire
  • Scale degree exercises
  • Solfege melodies
  • Solfege duets
  • Rhythms
  • 9
  • Scales
  • More practice with Mixolydian mode
  • More practice with major and minor scales
  • Intervals
  • Singing melodic intervals in series
  • More practice hearing series of harmonic intervals
  • Melody
  • Introduction to two-part melodic dictation
  • Review of supertonic and leading-tone arpeggios
  • Review of Mixolydian Mode
  • Triads
  • Singing major and minor triads in inversion
  • Rhythm
  • More challenging exercises with ties and rests
  • Introduction to two-part rhythm reading
  • Harmony
  • The cadential six-four (C6/4) harmony
  • Longer harmonic progressions
  • Assignments
  • Assignment 9
  • Online assignment 11
  • Repertoire
  • Scale degree exercises
  • Solfege melodies
  • Solfege duets
  • Rhythms
  • Two-part rhythms
  • 10
  • Scales
  • The Dorian mode
  • Intervals
  • Longer series of melodic and harmonic intervals
  • Melody
  • Transcription and singing in different modes
  • More two-part melodic transcription
  • Triads
  • Singing the diminished triad in first inversion
  • Rhythm
  • More practice with simple and compound meters Reading two-part rhythms with rests and ties
  • Harmony
  • The arpeggio six-four (A6/4) harmony
  • Review of All Six-Four Harmonies
  • Assignments
  • Assignment 10
  • Online assignments 12 and 13
  • Repertoire
  • Scale degree exercises
  • Solfege melodies
  • Solfege duets
  • Rhythms
  • Two-part rhythms
  • 11
  • Scales
  • Review of major and minor scales
  • Lydian, Mixolydian, and Dorian modes
  • Intervals
  • Review of all intervals up to the perfect octave
  • Melody
  • Eight-measure melodies for transcription, part 1
  • Review of major and minor melodies with wide-interval leaps
  • Triads
  • Review of all triads
  • Rhythm
  • Harmony
  • Outer-voice transcriptions in musical notation
  • Inverted harmony: the V6/5 chord
  • Clefs
  • Alto and tenor clefs
  • Assignments
  • Assignment 11
  • Online assignments 14 (review) and 15
  • Repertoire
  • Melodies
  • Duets
  • Rhythms
  • Two-part rhythms
  • Part III Advanced Diatonic and Rhythmic Material
  • 12
  • Scales
  • The Phrygian mode
  • Intervals
  • Compound intervals: ninths and tenths
  • Melody
  • Eight-measure melodies for transcription, part 2
  • More practice melodies for singing
  • Chords
  • Chords out of context: the major-minor-seventh chord (Mm7)
  • Rhythm
  • More practice with Compound and simple time meters
  • Two-part rhythmic transcription
  • Harmony
  • Inverted dominant-seventh harmony: the V4/2 chord
  • Non-harmonic tones: unaccented NHTs
  • Assignments
  • Assignment 12
  • Online assignment 16
  • Repertoire
  • Melodies
  • Duets
  • Rhythms
  • Two-Part Rhythms
  • 13
  • Scales
  • The Locrian mode
  • Intervals
  • Compound intervals: perfect elevenths, twelfths, and fifteenths
  • Singing elevenths, twelfths, and fifteenths
  • Melody
  • Eight-measure melodies for transcription: sentence structure
  • Singing melodies: focus on cadences
  • Chords
  • Chords out of context: the minor-seventh chord (mm7) and the major-seventh chord (MM7)
  • Rhythm
  • Borrowed division: triplets in simple meter
  • More practice with second-level division in compound meter
  • Harmony
  • Inverted dominant-seventh harmony: the V4/3 chord
  • Non-harmonic tones: accented NHTs
  • Assignments
  • Assignment 13
  • Online Assignment 17
  • Repertoire
  • Melodies
  • Duets
  • Rhythms
  • Two-part rhythms
  • 14
  • Scales
  • More practice with scales and modes
  • Intervals
  • Compound intervals: thirteenths,fourteenths and the compound tritone
  • Melody
  • Eight-measure melodies for transcription: period structure
  • Singing melodies: focus on structure
  • Chords
  • More practice with mm7 and the MM7 chords
  • Rhythm
  • Syncopation from sixteenth-notes
  • Simple meter: Two-part rhythmic dictation using triplets
  • Harmony
  • Other seventh-chords: I7, IV7, and II7 (root position only)
  • Sequence: the circle of fifths
  • Assignment 14
  • Assignment 14
  • Online assignment 18
  • Repertoire
  • Melodies
  • Duets
  • Rhythms
  • Two-part rhythms
  • 15
  • Scales
  • The pentatonic scale
  • Intervals
  • More practice with compound intervals
  • Melody
  • More melodies for transcription and singing
  • Chords
  • Hearing the upper voice in Mm7, MM7, and mm7
  • Rhythm
  • Borrowed division: duplets in compound meters
  • Compound meters: other dotted-rhythm cells
  • Harmony
  • Inverted predominant sevenths: ii6/5 and iiO6/5
  • Assignments
  • Assignment 15
  • Online assignment 19 and 20 (review)
  • Repertoire
  • Melodies
  • Duets
  • Rhythms
  • Two-part rhythms
  • 16
  • Scales
  • The whole-tone scale
  • Intervals
  • Multiple compound intervals, Part 1
  • Simple melodic and harmonic intervals in series
  • Melody
  • Melodies with chromaticism
  • Singing melodies with chromaticism
  • Chords
  • Chords out of context: the half-diminished-seventh chord (dm7 or O7)
  • Mm7 chords as V7: identifying the upper voice and the inversion
  • Rhythm
  • Irregular meters : 5/4 and 7/8
  • Harmony
  • All diatonic harmonies review
  • Modal mixture
  • Assignments
  • Assignment 16
  • Online assignment 21 (review) and 22
  • Repertoire
  • Melodies
  • Duets
  • Rhythms
  • Two-part rhythms
  • 17
  • Scales
  • The Octatonic scale
  • Intervals
  • Multiple compound intervals, Part 2: further exercises
  • Melody
  • More practice with hearing chromaticism in melodies
  • More practice with singing chromaticism in melodies
  • Chords
  • All triads: adding inner voices
  • Chords out of context: the fully-diminished-seventh chord (dd7 or o7)
  • Rhythm
  • Irregular meter: 8/8
  • Borrowed division: more tuplets
  • Harmony
  • Hearing viiO7 and viio7
  • Assignments
  • Assignment 17
  • Online assignment 23
  • Repertoire
  • Melodies
  • Duets
  • Rhythms
  • Two-part rhythms
  • Part IV Chromatic and Atonal material
  • More advanced rhythmic material
  • 18
  • Scales
  • The blues scale
  • Intervals
  • Melodic atonal intervals in series
  • Singing melodic atonal intervals in series
  • Melody
  • Modulating melodies
  • Singing modulating melodies
  • Simple chromaticism in two-part melodies
  • Chords
  • Mm7 chords: adding upper voices
  • Rhythm
  • Changing meters
  • Harmony
  • Chromatic harmony: the Neapolitan sixth chord (bII6)
  • Assignments
  • Assignment 18
  • Online assignment 24
  • Repertoire
  • Melodies
  • Duets
  • Rhythms
  • Two-part rhythms
  • 19
  • Scales
  • Non-traditional scales
  • Intervals
  • Harmonic compound intervals in series
  • More practice with melodic atonal intervals in series
  • Melody
  • More modulating melodies
  • Modulating melodies with chromaticism
  • More chromaticism in two-part melodies
  • Chords
  • Other seventh chords: adding inner voices
  • Rhythm
  • More practice with triplets, tuplets, and duplets Further levels of beat division
  • Borrowed divisions: the subtriplet and the supertriplet
  • Harmony
  • Chromatic harmony: the augmented sixth chords
  • Assignments
  • Assignment 19
  • Online assignment 25
  • Repertoire
  • Melodies
  • Duets
  • Rhythms
  • Two-part rhythms
  • 20
  • Scales
  • Olivier Messiaen's modes of limited transposition
  • Intervals
  • More practice with harmonic compound intervals in series
  • More practice with melodic atonal intervals in series
  • Melody
  • Melodies that modulate to other key areas
  • More chromaticism in modulating melodies
  • Chords
  • Chords out of context: the dominant-ninth chord (V9)
  • Singing dominant-ninth arpeggios
  • The mM7 chord
  • Rhythm
  • Advanced rhythm transcription and reading
  • Harmony
  • V9 in harmonic progressions
  • Applied dominants: [V7] and [V6/5]
  • Assignments
  • Assignment 20
  • Online assignment 26, 27, 28
  • Repertoire
  • Melodies
  • Duets
  • Rhythms
  • Two-part rhythms
  • Appendix I: Curwen hand signs
  • Appendix II: Referential melodies
  • Appendix III: Rhythmic shorthand
  • Appendix IV: Chromatic variants of the movable-do Solfege system
  • Glossary of musical terms
  • Index