For courses in Music Theory (a two-year sequence including sight singing and ear training) as well as separate Sight Singing courses. Using an abundance of meticulously organized melodies drawn from the literature of composed music and a wide range of the world's folk music, Ottman provides the most engaging and comprehensive Sight Singing text on the market. Over fifty years ago, Robert W. Ottman set out to write a book that draws examples from the literature as opposed to being composed by the author. He proposed that students should work with "real" music as they study musical forms. The result was Music for Sight Singing. Not only is real music more enjoyable and interesting to sing than dry examples, but genuine repertoire naturally introduces a host of important musical considerations beyond pitch and rhythm (including dynamics, accents, articulations, slurs, repeat signs, and tempo markings). Several generations of teachers have also agreed that Ottman's ability to order his examples from the simple to the complex is another key to the book's long term success. Nancy Rogers, the book's new author, has added new vitality to the book, introducing exercises to develop creativity as well as to build basic skills.
| ISBN | 0205760082 | | Pages | 448 | | ISBN13 | 9780205760084
(What's this?) | | Weight (grammes) | 522 | | Publisher | Pearson Education (US) | | Published in | Upper Saddle River | | Imprint | Pearson Education (US) | | Previous ISBN | 9780131872349 | | Format | Paperback | | Height (mm) | 229 | | Publication date | 03 Jan 2010 | | Width (mm) | 152 | | DEWEY | 782 | | Spine width (mm) | 15 | | DEWEY edition | DC22 | | Academic level | Professional / Scholarly |
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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, E 3 up to E 1, and major sixth, E 5 up to E 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: E 5 up to E 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
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