Progressive Sight Singing
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|Author||: Carol J. Krueger|
|Editor||: Oxford University Press, USA|
Designed for the complete undergraduate course sequence in aural skills, Progressive Sight Singing, Second Edition, introduces students to the underlying grammar and syntax of musical structure and prepares them to perceive that structure with both the ear and the eye. Working from the premise that students learn musical skills in much the same order as they do language skills, this book trains the ear first---through hearing and imitating patterns---teaching students to hear and perform before they read and write. Part I presents rhythmic exercises only, and Part II presents melodic exercises; the two sections are designed to be used concurrently at an adaptable pace. The popular in-text CD from the first edition has been expanded into an in-text DVD that includes more of the rhythm and tonal patterns introduced in the book, as well as over 100 graphs depicting the vocal pitch exercises. For the Second Edition, Part II (Melodic Reading) has been expanded and rebalanced to reinforce more advanced concepts, making this text ideal for the entire four-semester course sequence in aural skills. This edition integrates a rich variety of well-paced, graduated exercises, including new exercises for C clefs, secondary triads, improvisation, and duets, and has been thoroughly redesigned for improved readability. A new Companion Website at www.oup.com/us/krueger expands on the pedagogy underlying the book, offers solutions to the exercises, and provides additional exercises and teaching tips.
|Author||: Carol Krueger,Carol J. Krueger|
|Editor||: Oxford University Press, USA|
Designed for course sequences in aural skills, Progressive Sight Singing, Third Edition, by Carol Krueger, presents students with the grammar and syntax of musical structure and prepares them to perceive that structure with both the ear and the eye. Divided into two parts, the text presents rhythmic exercises in Part I and melodic exercises in Part II. The two sections can be used concurrently over a four-semester course sequence, giving instructors flexibility to teach at a pace that suits the abilities and backgrounds of a particular class or course schedule. Features: a progressive approach introduces new elements one chapters at a time while reinforcing previously learned skills through graduated exercises, encouraging active practice ; An abundance of rhythm exercises eliminates the need for a separate rhythm text ; A variety of sight singing methodologies are accommodated throughout the text. New to this edition: Expanded and adjusted pacing of the rhythm sequence and an earlier introduction of simple meter aids in the development of the connection between sound and sight ; Addtional solo, duet, and multi-voice melodic exercises enhance aural and reading skills ; Expanded appendices include suggested harmony-chord progressions ; A free and open-access Companion website (www.oup.com/us/krueger) offers recordings for aural dictation, solutions to exercises, flashcards, expanded vocal pitch exercises/graphs, and many additional melodic and rhythm exercises. -- from back cover.
|Author||: Paul Harris|
|Editor||: Faber Music Ltd|
Improve your sight-reading! Grade 1 is part of the best-selling series by Paul Harris guaranteed to improve your sight-reading! This workbook helps the player overcome problems, by building up a complete picture of each piece, through rhythmic and melodic exercises related to specific technical issues, then by studying prepared pieces with associated questions, and finally 'going solo' with a series of meticulously-graded sight-reading pieces. This new edition has been completely re-written, with new exercises and pieces to support the Associated Board's new sight-reading requirements from 2009. Improve your sight-reading! will help you improve your reading ability, and with numerous practice tests included, will ensure sight-reading success in graded exams.
|Author||: Carol J. Krueger,Carol Krueger|
|Editor||: Oxford University Press, USA|
Designed for beginning Aural Skills courses required of freshmen music majors. This text introduces basic concepts. It provides examples for practice in rhythmic and melodic reading, dictation, audation, musical memory, and error detection. It trains the ear first, teaching students to hear and perform before they read and write.
|Author||: Andy Beck,Karen Farnum Surmani,Brian Lewis|
|Editor||: Alfred Music|
Sing at First Sight is a sequential sight-singing curriculum for all choirs! This Level 2 book opens with a comprehensive Rhythm Review and Pitch Practice reinforcing the concepts studied in Sing at First Sight, Level 1. Each of the four units that follow features a helpful Getting Ready page, progressive Rhythm Readiness exercises, and thorough music-reading Lessons with practice Exercises, useful Hints, and motivating Challenge Exercises. Unit summary and assessment is easily achieved with choral excerpts from Alfred’s Choral Designs series, fun-filled Review games, and Evaluating Your Performance questions. Plus, Alfred has included a full-length Performance Piece to measure and celebrate your choir’s sight-singing progress, and then perform in concert. Includes: * Singing in Minor * Chromatics * 2-Part, 3-Part, and 4-Part Harmony * Major and Minor Intervals * Changing Meter * Sixteenth-Note Patterns
|Author||: David Bauguess|
|Editor||: Hal Leonard Publishing Corporation|
(Methodology Chorals). This comprehensive method based on the solfege system gives you a step-by-step plan for teaching the fundamentals of sightsinging. With minimal preparation time, your students will experience solid results in only minutes per rehearsal. There are 334 carefully graded exercises in unison, 2-part and 3-part, most with ranges of an octave or less. Recommended for Grades 6-12. Available: Teacher's Edition Vol. I & II, Student Edition Vol. I & II, and Sightsinging Part Exercises. For Grades 6-12.
|Author||: Zoltan 1882-1967 Kodaly|
|Editor||: Hassell Street Press|
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
|Author||: Robert Anthony|
First and foremost: THIS IS NOT A METHOD BOOK. It is precisely what it says it is: 300 Progressive Sight Reading Exercises! Volume One is comprised of 300 progressive eight-bar exercises that train reading skills for both hands equally: Half of the pieces emphasize the right hand, the other half emphasize the left. The first 32 exercises isolate the hands while the remaining exercises combine them. For most of the exercises, the de-emphasized hand stays within a single five-finger position. Time signatures include 4/4 (Common Time), 3/4, 2/4, 6/8, and 2/2 (Cut Time). This entire first volume is in C Major or its relative modes. Key signatures, accidentals, dynamics, tempo, and expressive markings will be covered in future volumes. All of the exercises are eight measures long. If one has done any study of formal analysis, they will find that eight measures is a typical 'period' of music and usually contains two, four-bar phrases (also typical in length). For example, many sonatinas, jazz standards, and pop songs use "32 Bar Form" (A A B A), "Binary Form" (A B), and "Ternary Form" (A B A), with each section often being eight bars. Thus, eight measures (one period of music) makes the perfect length for sight-reading studies in my opinion. How to use this book: Start where the exercises begin and work across the book - from exercise 1, 5, 9, 13 and so on until you get to a point where the music challenges you and then mark your ending point. The next practice, play exercises 2, 6, 10, 14, and so on... The next: 3, 7, 11, 15 and so on, and finally 4, 8, 12, 16, and so on. If you want to work at your "break point" (the point in the book where you can no longer play musically), work DOWN the page instead of across the pages. Note: This book is also available in a LARGE PRINT version that for printing purposes had to be divided into two books. If you have poor vision or want this book to be easy to SEE on an electronic device, you might prefer the Large Print Version. "These books differ from conventional 'methods' in that technical and theoretical instructions have been omitted, in the belief that these are more appropriately left for the teacher to explain to the student." - Bela Bartok, Mikrokosmos. I whole-heartedly agree with Bartok's sentiment and if music teachers would ask their students what they like least (or hate the most) about typical lessons, it is the method books that win this contest EVERY TIME. I have completely eliminated method books from my own teaching practice and have much happier and more productive students than ever. While this book is intended to train sight-reading skills, it may also be used by beginners or those new to reading to acquire basic reading skills, but it assumes one either has a teacher or can at least find C on their instrument. It starts at a very basic level (only three notes) and adds a new note, rhythm, or concept every four exercises and thoroughly reinforces them throughout the rest of the book. Next, the music's composition is a slave to its function: The purpose of the books is to train reading skill, and the exercises keep challenging the range that has been established by previous exercises as well as less-than-convenient intervalic skips. They are composed from a 'music-first' perspective, as opposed to an 'instrument-first' perspective, and are purposely composed to be difficult to memorize. For example, the first exercises begin on C because they are in the key of C, and then go on to sometimes start and end on different scale degrees of the same key. Those familiar with the Fundamental Modes will likely recognize what they are hearing, but those unfamiliar with these modes will likely be hearing something that sounds a bit different, or odd, until their ears acclimate to these sounds. I see many students go through this process with altered dominants and augmented triads as well.
|Author||: I. J. Farkas|
|Editor||: Createspace Independent Publishing Platform|
Visit http://goo.gl/L9ezwA to listen online to the 300+ exercises included in this book. Practical Sight Singing, Level 1 is a comprehensive and progressive audio course for group or self study, private music lessons, for singers in school, college, church and community choirs. The present interactive book is the first volume of the comprehensive "Sight Singing Series". This course is a compact introduction to the basics of sight singing and adds more complicated elements one by one. The book contains 300 sight singing exercises and 300 professionally recorded vocal samples. On Apple devices, for the best device specific interactive experience. please download and use the iBooks version of this book.
|Author||: Peter Gelling|
|Editor||: Koala Publications|
A carefully designed method which introduces the younger student to the basics of singing and reading music. Also covers the basics of correct posture and breathing technique. To maximize the student's enjoyment and interest, the book incoporates a repetoire of well known children's songs.
|Author||: Kent D. Cleland,Mary Dobrea-Grindahl|
Developing Musicianship Through Aural Skills is a comprehensive method for learning to hear, sing, understand, and use the foundations of music as a part of an integrated and holistic curriculum for training professional musicians. Each chapter is organized to take advantage of how our minds and instincts naturally hear and understand music and provides a variety of exercises for practicing and integrating the structure into your musical vocabulary. Developing Musicianship Through Aural Skills will provide you with the musical terms, progressions, resolutions, and devices that you will be able to draw upon as a functional and usable musical vocabulary. Ear training exercises on the companion website reinforce both discrete structures (intervals, chords, etc.) as well as all rhythmic and melodic material, and sections are provided to open discussion and reflection on the skills and attitudes professional musicians need to be successful. Features: Easy to Understand Explanations: Topics are logically ordered and explained to help the student make connections to their theory instruction and common usage. A Complete Method: Detailed instructions are given for singing and hearing structures as they most commonly appear in music., providing students with a proven, reliable process for creating and discerning musical structures. Exercises: Ideas for drill, pitch patterns, rhythms, melodies, duets, sing and plays, and examples from the literature help the student to integrate each chapter’s material. Reflections: Discussions of topics that help students to develop as a person, a professional, and an artist, and to integrate aural skills into their musical education. Companion Website: Ear Training tools and video demonstrations. You can find the companion website at www.routledge.com/textbooks/developingmusicianship.
|Author||: Andy Beck,Karen Farnum Surmani,Brian Lewis|
|Editor||: Alfred Music|
A sequential sight-singing curriculum for all choirs. Each of the six units (containing four lessons each) clearly introduces new music reading concepts, reinforces those concepts with several rhythm and pitch exercises, motivates students with helpful hints and challenge exercises, and concludes with fun-filled review games and "Evaluating Your Performance" questions. The helpful "Getting Ready" pages (which precede each unit) are filled with music fundamentals, and for choirs who have never read music before, an optional "Before We Begin" chapter opens the book. And it's all a neatly laid out publication and a perfect fit for your students. From whole notes to sixteenth-note patterns, seconds to sevenths, key signatures, dynamics, articulations, and tempo markings; it's all here, and it's all logically ordered to insure student success! Spend just a few minutes a day with this book and your choir, too, will learn to "Sing at First Sight!"
|Author||: Trinity Guildhall|
|Editor||: Sound at Sight: Sample Sightreading Tests Second Series|
This book contains the sight reading examination piano pieces for grade 2 of the Trinity Guildhall examinations.
|Author||: Elizabeth Irene Hames,Em Music Publishing,Michelle Anne Blumsack|
|Editor||: Createspace Independent Pub|
This book provides a progressive curriculum for intermediate theory and sightreading intended to follow completion of Theory and Sightreading for Singers Level 1. It can be used in a classroom setting or as a complement to private study. The material is intended for middle-school aged students and older. Each lesson provides instruction on theory, a worksheet to reinforce the concepts, and a sightreading exercise to provide practical application of those concepts.