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Check for Availabilityout of stock. Click on the button below to search for this title in other formats.  Music for Sightsingingby Robert W. Ottman
Synopses & ReviewsPublisher Comments:' The study of sight singing is one of the most important means of developing the ability to recognize (\"to hear\") mentally the sound of music notation on the printed page without the necessity of recourse to a musical instrument. For the professional musician, performer, or teacher, this skill is a necessity, while for others, achievement will greatly amplify the pleasures of musical activity in performance and listening. To achieve success in sight singing, students must have large numbers of melodies available for practice. Once a melody has been sung, repetition is no longer \"singing at first sight,\" although reviewing for study purposes is highly recommended. To this end, this volume includes 1,199 examples. Most of these are chosen from worldwide folk sources and a wide variety of composed music, ranging from melodies simpler than Twinkle, Twinkle, Little Star to excerpts from Bartok string quartets. The remaining examples, written by the author, provide practice for rhythm alone, and for singing melodies composed only of adjacent scale steps, valuable for initial study but rarely found in music literature. Each chapter presents only one new problem, either in rhythm or in melody, allowing students to concentrate on the newly introduced feature. Otherwise, no chapter will include any material not already presented in earlier chapters. For the dedicated student, this careful selection and grading of melodies guarantees steady and rewarding progress to a successful accomplishment of sight singing skills. Some of the changes in the new edition include:
Synopsis: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 and Rogers provide the most engaging and comprehensive Sight Singing text on the market. Arranging its 21 chapters to study both pitch and rhythm, this book presents melodies and over 1200 exercises that enable readers to develop the skills of reading pitch, reading rhythm, and combining these two essential elements. The Seventh Edition contains 30% more rhythmic exercises and new structured improvisation exercises. For professionals with a career in music, music education, and composition. Table of Contents(R) indicates Rhythmic Reading exercises PREFACE In Memorium ACKNOWLEDGMENTS PART I MELODY: DIATONIC INTERVALS RHYTHM: DIVISION OF THE BEAT 1 RHYTHM: Simple meter; the Beat and Its Division into Two Parts RHYTHMIC READING Section 1 (R). The quarter note as the beat unit. Beat-note values and larger only Section 2 (R). The quarter note as the beat unit and its division. Dotted notes and tied notes Section 3 (R). Two-part drills Section 4 (R). Note values other than the quarter note as beat values Section 5 (R). Two-part drills 2 MELODY: Stepwise Melodies, Major Keys RHYTHM: Simple Time (Meter); the Beat and its Division into Two Parts Section 1. Major keys, treble clef, the quarter note as the beat unit. Key signatures with no more than three sharps or three flats Section 2. Bass clef Section 3. Other meter signatures Section 4. Duets Section 5. Structured Improvisation 3 MELODY: Intervals from the Tonic Triad, Major Keys RHYTHM: Simple Meters 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 Section 2. Bass clef Section 3. Interval of the sixth; minor sixth, up to , and major sixth, up to , or descending Section 4. The half note and the eighth note as beat units Section 5. Duets Section 6. Key signatures with five, six, and seven sharps or flats Section 7. Structured Improvisation 4 MELODY: Intervals from the Tonic Triad, Major Keys RHYTHM: Compound Meters; the Beat and Its Division into Three Parts Section 1 (R). Rhythmic reading: The dotted quarter note as the beat unit. Single lines and two-part drills Section 2. Sight singing: Major keys, treble clef; the dotted quarter note as the beat unit Section 3. Sight singing: Bass clef Section 4 (R). Rhythmic reading: The dotted half note and the dotted eighth note as beat units, including two-part drills Section 5. Sight singing: The dotted half note and dotted eighth note as beat units Section 6. Duets Section 7. Structured Improvisation 5 MELODY: Minor Keys; Intervals from the Tonic Triad RHYTHM: Simple and Compound Meters Section 1. Simple meters Section 2. Compound meters Section 3. Duets Section 4. Structured Improvisation 6 MELODY: Intervals from the Dominant (V) Triad; Major and Minor Keys RHYTHM: Simple and Compound Meters Section 1. Intervals of the third from the V triad; major keys; simple meters Section 2. Intervals of the third from the V triad; minor keys; simple meters Section 3. Intervals of the fourth and fifth from the V triad; major and minor keys; simple meters Section 4. Interval of the sixth from the V triad; simple meters Section 5. Compound meters; various intervals from the V triad Section 6. Numerators of three, compound meters Section 7. Duets Section 8. Structured Improvisation 7 THE C CLEFS: Alto and Tenor Clefs Section 1. The alto clef Section 2. The tenor clef Section 3. Additional practice in the C clefs 8 MELODY: Further Use of Diatonic Intervals RHYTHM: Simple and Compound Meters Section 1. Single-line melodies Section 2. Duets Section 3. Structured Improvisation 9 MELODY: Intervals from the Dominant Seventh Chord (V7); Other Diatonic Intervals of the Seventh RHYTHM: Simple and Compound Meters Section 1. The complete dominant seventh chord Section 2. The interval of the minor seventh; up to or reverse Section 3. The interval of the tritone Section 4. Other uses of diatonic intervals of the seventh Section 5. Structured Improvisation 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 RHYTHMIC READING, SIMPLE meters Section 1 (R). Preliminary exercises, simple meters Section 2 (R). Rhythmic reading exercises in simple meters Section 3 (R). Two-part drills, simple meters RHYTHMIC READING, COMPOUND meters Section 4 (R). Preliminary exercises, compound meters Section 5 (R). Rhythmic reading exercises in compound meters Section 6 (R). Two-part drills, compound meters 11 MELODY: Intervals from the Tonic and Dominant Triads RHYTHM: Subdivision in Simple and Compound Meters Section 1. Major keys Section 2. Minor keys Section 3. Structured Improvisation 12 MELODY: Further Use of Diatonic Intervals RHYTHM: Subdivision in Simple and Compound Meters Section 1. Diatonic intervals except the seventh and the tritone Section 2. The dominant seventh (V7) chord; intervals of the seventh and the tritone Section 3. Other uses of the interval of the seventh Section 4. Structured Improvisation 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 Section 1. Chromatic nonharmonic tones. Augmented and diminished intervals created by their use Section 2. The secondary dominant chord, V/V or V7/V. Modulation from a major key to its dominant key Section 3. Duets Section 4. Structured Improvisation 14 MELODY: Chromaticism (II): Modulation to Closely Related Keys; Additional Secondary Dominant Harmonies Section 1. Single-line melodies Section 2. Duets Section 3. Structured Improvisation 15 RHYTHM: Syncopation RHYTHMIC READING Section 1 (R). Divided beat patterns in simple meters Section 2 (R). Divided beat patterns in compound meters Section 3 (R). Two-part drills Section 4 (R). Subdivided beat patterns in simple meters Section 5 (R). Subdivided beat patterns in compound meters Section 6 (R). Two-part drills SIGHT SINGING Section 7. Divided beat patterns in simple meters Section 8. Divided beat patterns in compound meters Section 9. Duets Section 10. Subdivided beat patterns in simple and compound meters Section 11. Structured Improvisation 16 RHYTHM and MELODY: Triplet Division of Undotted Note Values; Duplet Division of Dotted Note Values RHYTHMIC READING Section 1 (R). Triplet division of undotted note values Section 2 (R). Duplet division of dotted note values Section 3 (R). Two-part drills SIGHT SINGING Section 4. Triplet division of undotted note values Section 5. Duplet division of dotted note values Section 6. Duets Section 7. Structured Improvisation 17 RHYTHM and MELODY: Changing Meter Signatures; the Hemiola; Less Common Meter Signatures RHYTHMIC READING Section 1 (R). Definitions and rhythmic reading exercises SIGHT SINGING Section 2. Changing meter signatures Section 3. The hemiola Section 4. Meters of 5 and 7, and other meters Section 5. Structured Improvisation 18 RHYTHM and MELODY: Further Subdivision of the Beat; Notation in Slow Tempi Section 1 (R). Rhythmic reading Section 2. Sight singing 19 MELODY: Chromaticism (III): Additional Uses of Chromatic Tones; Remote Modulation Section 1. Chromatic tones Section 2. The Neapolitan Sixth Section 3. Remote modulation Section 4. Structured Improvisation PART IV THE MEDIEVAL MODES AND TWENTIETH-CENTURY MUSIC 20 MELODY: The Medieval Modes Section 1. Folk music Section 2. Composed music Section 3. Structured Improvisation 21 MELODY: Twentieth-Century Melody RHYTHM: Twentieth-Century Rhythm Section 1 (R). Meter and rhythm. Rhythmic reading Section 2. Extensions of the traditional tonal system Section 3. Symmetrical collections; the octatonic and whole-tone scales Section 4. Freely post-tonal melodies Section 5. Twelve-tone melodies Section 6. Duets Section 7. Structured Improvisation APPENDIX: MUSICAL TERMS What Our Readers Are SayingBe the first to add a comment for a chance to win!Product Details
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