Aural Skills in Context: A Comprehensive Approach to Sight Singing, Ear Training, Keyboard Harmony, and Improvisation

Contents

• Preface: Pedagogical Approach, Curricular Planning, Practicalities
• The Foundations of Aural Skills
• . Introduction to the Student
• . Major and Minor Scales and Simple Intervals
• . Basic Rhythmic Patterns
• . Conducting of Simple Meters
• . Neighbor and Passing Tones in a Stepwise Context
• . Keyboard Orientation
• . First Steps in Improvisation
• . Tonic Triad
• . Practice in Multiple Clefs
• . Six-Step Method for Dictation
• . Introduction to Smartmusic
• Unit 1: The Diatonic Scale Degrees
• Chapter 1: Tonic Triad and its Melodies
• . Tonic Triad as Melodic Basis
• . Major and Minor Scales in Context
• . First Five Notes of the Scale
• Chapter 2: Submediant Scale Degree and Major Pentatonic
• . Submediant Scale Degree
• . The I-V-I Harmonic Paradigm
• . Major Pentatonic Scale
• . Introduction to Compound Meter
• Chapter 3: Seventh Scale Degree and Minor Pentatonic
• . Minor Pentatonic Scale
• . Compound Meter
• . Leading Tone and Subtonic Scale Degree
• . Subdominant Harmony
• Chapter 4: Plagal Melodies I
• . Upper and Lower Dominant Scale Degrees
• . First Inversion Triads
• . Expanding the Melodic Range Beyond the Octave
• Chapter 5: Plagal Melodies II
• . Syncopation
• . Changing Meters
• . Harmonic Study of Tonic Prolongation
• Chapter 6: The Octave and Beyond
• . Excerpts that Span the Entire Octave and Beyond
• . Periodic Structures (Parallel Period)
• . Inconclusive and Conclusive Cadences
• Chapter 7: Complete Examples from the Repertoire
• . Reviewing Unit I through Complete Works
• . Focus on Rhythm in a Non-Pitched Work
• Unit II: Diatonic Contexts & Introduction to Chromatic Pitches
• Chapter 8: Diatonic Sequences
• . Ascending and Descending Fifths Sequence
• . Descending Thirds Sequence
• . Ground Bass
• . Harmonic Study of Tonic Prolongation: viio6, Passing 6/4, and Inversions of V7
• Chapter 9: Diatonic Sequences II and
• . New Rhythmic Configurations
• . Ascending Seconds Sequence
• . Quasi-Sequential Progressions
• . Four-Part Schemata of Sequences
• Chapter 10: Motivic Development and the Sentence
• . Sentence Structure
• . Expansions and Extensions of Sentences
• . Harmonic Study of Tonic Prolongation: Combination of Predominants with Inversions of viiDG and V7
• Chapter 11: Chromatic Neighbor Tones
• . Chromatic Neighbor Tones as Surface-Level Embellishments
• . Resolution of Chromatic-Altered Pitches
• . Chromatic Solmization Syllables (Ascending: di, ri, fi, si, li
• Descending: te, le, se, me)
• . Cadential Progressions with vi and ii
• . Cadential 6/4
• Chapter 12: Chromatic Passing Tones
• . Chromatic Passing Tones as Surface-Level Embellishments
• . Harmonic Study of Mediant and Subtonic Triads
• Chapter 13: Beyond the Stepwise Context
• . Delayed Resolutions of Chromatic Pitches
• . Harmonic Study of Tonicization via
• Chapter 14: Complete Examples from the Repertoire
• . Reviewing Unit II through Complete Works
• . Focus on Rhythm in a Non-Pitched Work
• Unit III: Advanced Melodies, Modulation, and Introduction to Musical Form
• Chapter 15: Melodic Chromaticism
• . Chromatic Melodies and Bass Lines
• . Singing Complete Musical Forms
• . Extended Melodic Range
• . Lowered Supertonic Scale Degree
• . Harmonic Study of Tonicization via
• Chapter 16: Modulation
• . Tonicization vs. Modulation
• . Modulation to the Dominant
• . Harmonic Study of Tonicization via
• Chapter 17: Simple Binary Form
• . Categories and Classification of Binary Forms based on Harmonic Design
• . Harmonic Study of Tonicization via
• Chapter 18: Rounded and Balanced Binary Form
• . Categories and Classification of Binary Forms based on Motivic Design
• . Harmonic Study of Tonicization via and
• Chapter 19: Modal Mixture
• . Coloristic Use of Modal Mixture Chords
• . Tendency of Tones in Modal Mixture Chords
• . Tonicization of Modal Mixture Chords
• . Modulation to Modally Mixed Tonal Areas
• Chapter 20: Ternary Form
• . Categories and Classification of Ternary Forms
• . Harmonic Study of Chromatic Third Relations
• Chapter 21: Neapolitan Triad and Common-Tone Diminished Seventh
• . Neapolitan as Predominant Harmony
• . Uses of Common-Tone Diminished Seventh
• . Focus on Rhythm in a Non-Pitched Work
• Unit IV: Advanced Chromaticism and Larger Forms
• Chapter 22: Introduction to Augmented-Sixth Chords
• . Augmented-Sixth Chords as Pre-Dominant Harmonies
• . The Tritone Substitution in Jazz and Popular Music
• . Harmonic Study of the Common-Tone Diminished Seventh
• Chapter 23: Rondo Form
• . Five-Part and Seven-Part Rondos
• . Harmonic Study of Augmented Sixth Chords
• Chapter 24: Further Uses of Augmented-Sixth Chords
• . Use of Augmented-Sixth Chords in Larger Forms
• . Advanced Uses of Augmented-Sixth Chords
• Chapter 25: Sonata Form
• . Basic Harmonic and Motivic Traits of Sonata Forms
• . Introduction and Coda in Sonata Forms
• . Harmonic Study of Complex Chromatic Progressions
• Chapter 26: Advanced Melodic and Harmonic Chromaticism
• . Equal Division of the Octave
• . Complex Melodic Chromaticism
• Chapter 27: Later Tonal Styles
• . Post-Romantic, Impressionist, and Contemporary Tonal Styles