Ear Training and Sight Singing: A Developmental Aural Skills Text

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