MUSIC FOR SIGHT SINGING CONTENTS
PREFACE xiii
IN MEMORIAM xvii
ACKNOWLEDGMENTS xix
PART I
MELODY: DIATONIC INTERVALS
RHYTHM: DIVISION OF THE BEAT
1 RHYTHM: Simple Meters; the Beat and Its Division into Two Parts 1
RHYTHMIC READING 1
Section 1 (R). The quarter note as the beat unit. Beat-note values and
larger only, 3
Section 2 (R). The quarter note as the beat unit and its division. Dotted
notes and tied notes, 4
Section 3 (R). Two-part drills, 5
Section 4 (R). Note values other than the quarter note as beat values, 7
Section 5 (R). Two-part drills, 9
2 MELODY: Stepwise Melodies, Major Keys
RHYTHM: Simple Meters;The Beat and Its Division into Two Parts 12
SIGHT SINGING, 12
Section 1. Major keys, treble clef, the quarter note as the beat
unit. Key signatures with no more than three sharps
or three flats, 13
Section 2. Bass clef, 16
Section 3. Other meter signatures, 19
Section 4. Duets, 20
Section 5. Structured improvisation, 22
3 MELODY: Intervals from the Tonic Triad, Major Keys
RHYTHM: Simple Meters 24
Section 1. Major keys, treble clef, intervals of the third, fourth, fifth,
and octave from the tonic triad. The quarter note as the
beat unit, 26
Section 2. Bass clef, 31
Section 3. Interval of the sixth; minor sixth, 3 up to 1, and major
sixth, 5 up to 3, or descending, 33
Section 4. The half note and the eighth note as beat units, 35
Section 5. Duets, 37
Section 6. Key signatures with five, six, and seven sharps or flats, 40
Section 7. Structured improvisation, 44
4 MELODY: Intervals from the Tonic Triad, Major Keys
RHYTHM: Compound Meters;The Beat and Its Division intoThree Parts 45
Section 1 (R). Rhythmic reading: The dotted quarter note as the beat
unit. Single lines and two-part drills, 46
Section 2. Sight singing: major keys, treble clef; the dotted quarter
note as the beat unit, 50
Section 3. Sight singing: Bass clef, 53
Section 4 (R). Rhythmic reading: The dotted half note and the dotted
eighth note as beat units, including two-part drills, 57
Section 5. Sight singing: The dotted half note and dotted eighth
note as beat units, 59
Section 6. Duets, 61
Section 7. Structured improvisation, 63
5 MELODY: Minor Keys; Intervals from the Tonic Triad
RHYTHM: Simple and Compound Meters 65
Section 1. Simple meters, 67
Section 2. Compound meters, 72
Section 3. Duets, 74
Section 4. Structured improvisation, 77
6 MELODY: Intervals from the Dominant (V) Triad; Major
and Minor Keys
RHYTHM: Simple and Compound Meters 78
Section 1. Intervals of the third from the V triad; major keys; simple
meters, 80
Section 2. Intervals of the third from the V triad; minor keys; simple
meters, 82
Section 3. Intervals of the fourth and fifth from the V triad; major
and minor keys; simple meters, 84
Section 4. Interval of the sixth from the V triad; simple
meters, 89
Section 5. Compound meters; various intervals from
the V triad, 90
Section 6. Numerator of 3, compound meters, 92
Section 7. Duets, 93
Section 8. Structured improvisation, 97
7 THE C CLEFS: Alto and Tenor Clefs 98
Section 1. The alto clef, 99
Section 2. The tenor clef, 104
Section 3. Additional practice in the C clefs, 107
Section 4. Structured improvisation, 108
8 MELODY: Further Use of Diatonic Intervals
RHYTHM: Simple and Compound Meters 110
Section 1. Single-line melodies, 111
Section 2. Bass lines, 112
Section 2. Duets, 124
Section 3. Structured improvisation, 125
9 MELODY: Intervals from the Dominant Seventh Chord (V7);
Other Diatonic Intervals of the Seventh
RHYTHM: Simple and Compound Meters 128
Section 1. The complete dominant seventh chord, 127
Section 2. The interval of the minor seventh: 5 up to 4 or
reverse, 128
Section 3. The interval of the tritone, 132
Section 4. Other uses of diatonic intervals of the seventh, 136
Section 5. Structured improvisation, 138
PART II
MELODY: DIATONIC INTERVALS
RHYTHM: SUBDIVISION OF THE BEAT
10 RHYTHM: The Subdivision of the Beat:The Simple Beat into Four Parts,
The Compound Beat into Six Parts 139
RHYTHMIC READING, SIMPLE METERS, 139
Section 1 (R). Preliminary exercises, simple meters, 139
Section 2 (R). Rhythmic reading exercises in simple meters, 140
Section 3 (R). Two-part drills, simple meters, 143
RHYTHMIC READING, COMPOUND METERS, 144
Section 4 (R). Preliminary exercises, compound meters, 145
Section 5 (R). Rhythmic reading exercises in compound meters, 146
Section 6 (R). Two-part drills, compound meters, 149
11 MELODY: Intervals from the Tonic and Dominant Triads
RHYTHM: Subdivision in Simple and Compound Meters 152
Section 1. Major keys, 152
Section 2. Minor keys, 157
Section 3. Structured improvisation, 160
12 MELODY: Further Use of Diatonic Intervals
RHYTHM: Subdivision in Simple and Compound Meters 162
Section 1. Diatonic intervals except the seventh and
the tritone, 162
Section 2. The dominant seventh (V7) chord; intervals of
the seventh and the tritone, 174
Section 3. Other uses of the interval of the seventh, 179
Section 4. Structured improvisation, 180
PART III
MELODY: CHROMATICISM
RHYTHM: FURTHER RHYTHMIC PRACTICES
13 MELODY: Chromaticism (I): Chromatic Nonharmonic Tones;
The Dominant of the Dominant (V/V) Harmony;
Modulation to the Key of the Dominant 182
Section 1. Chromatic nonharmonic tones. Augmented and
diminished intervals created by their use, 182
Section 2. The secondary dominant chord, V/V or V7/V.
Modulation from a major key to its dominant key, 187
Section 3. Duets, 209
Section 4. Structured improvisation, 213
14 MELODY: Chromaticism (II): Modulation to Closely Related Keys;
Additional Secondary Dominant Harmonies 215
Section 1. Single-line melodies, 216
Section 2. Duets, 233
Section 3. Structured improvisation, 241
15 RHYTHM and Syncopation 243
MELODY:
RHYTHMIC READING, 244
Section 1 (R). Divided beat patterns in simple meters, 244
Section 2 (R). Divided beat patterns in compound meters, 245
Section 3 (R). Two-part drills, 246
Section 4 (R). Subdivided beat patterns in simple meters, 248
Section 5 (R). Subdivided beat patterns in compound meters, 249
Section 6 (R). Two-part drills, 250
SIGHT SINGING, 251
Section 7. Divided beat patterns in simple meters, 251
Section 8. Divided beat patterns in compound meters, 260
Section 9. Duets, 263
Section 10. Subdivided beat patterns in simple and compound
meters, 268
Section 11. Structured improvisation, 274
16 RHYTHM and Triplet Division of Undotted Note Values;
MELODY: Duplet Division of Dotted Note Values 275
RHYTHMIC READING, 276
Section 1 (R). Triplet division of undotted note values, 276
Section 2 (R). Duplet division of dotted note values, 279
Section 3 (R). Two-part drills, 280
SIGHT SINGING, 282
Section 4. Triplet division of undotted note values, 282
Section 5. Duplet division of dotted note values, 291
Section 6. Duets, 295
Section 7. Structured improvisation, 300
17 RHYTHM and Changing Meter Signatures;The Hemiola;
MELODY: Less Common Meter Signatures 302
RHYTHMIC READING, 302
Section 1 (R). Definitions and rhythmic reading exercises, 302
SIGHT SINGING, 306
Section 2. Changing meter signatures, 306
Section 3. The hemiola, 309
Section 4. Meters of 5 and 7, and other meters, 314
Section 5. Structured improvisation, 321
18 RHYTHM and Further Subdivision of the Beat;
MELODY: Notation in Slow Tempi 322
Section 1 (R). Rhythmic reading, 323
Section 2. Sight singing, 325
Section 3. Structured improvisation, 333
19 MELODY: Chromaticism (III): Additional Uses of Chromatic Tones;
Remote Modulation 334
Section 1. Chromatic tones in less common intervals, 334
Section 2. The Neapolitan sixth, 339
Section 3. Remote modulation, 344
Section 4. Structured improvisation, 353
PART IV
THE DIATONIC MODES AND
TWENTIETH-CENTURY MUSIC
20 MELODY: The Diatonic Modes 354
Section 1. Folk music, 355
Section 2. Composed music, 363
Section 3. Structured improvisation, 371
21 RHYTHM and The Twentieth Century 372
MELODY:
Section 1 (R). Meter and rhythm. Rhythmic reading, 372
Section 2. Extensions of the traditional tonal system, 375
Section 3. Symmetrical collections; the whole-tone and octatonic
scales, 389
Section 4. Freely post-tonal melodies; twelve-tone melodies, 395
Section 5. Duets, 399
Section 6. Structured improvisation, 406
APPENDIX A: RHYTHM SOLMIZATION 409
APPENDIX B: PITCH SOLMIZATION 412
APPENDIX C: MUSICAL TERMS 415
