We use cookies to enhance your experience on our website. By continuing to use our website, you are agreeing to our use of cookies. You can change your cookie settings at any time. Find out more
Cover

Progressive Sight Singing

Second Edition

Carol Krueger

Publication Date - June 2010

ISBN: 9780195386042

592 pages
Spiral Bound
8-1/2 x 11 inches

In Stock

Retail Price to Students: $92.95

A comprehensive, student-centered, and flexible introduction to sight singing that incorporates rhythm--now expanded to cover four semesters

Description

A comprehensive, student-centered, and flexible introduction to sight singing, Progressive Sight Singing, Second Edition, by Carol Krueger, presents students with 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, the book trains the ear first--through hearing and imitating patterns--before teaching students to read and write.

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 the flexibility to teach at a pace that suits the abilities and backgrounds of a particular class or course schedule.

FEATURES
BL Adds only one new element per chapter and incorporates components from previous chapters into examples and exercises, continuously reinforcing learned skills
BL Integrates a rich variety of well-paced, graduated exercises for classroom study and individual practice outside of class
BL Includes an abundance of rhythmic exercises, eliminating the need for a separate rhythm text
BL Encourages students to participate actively (sing, chant, write, improvise) in the practice of each concept
BL Offers instructors great flexibility in that they can use the tonal and reading systems they prefer; the appendixes provide a brief overview of each system

New to this Edition

  • Expanded material in Part II: Melodic Reading presents and reinforces more advanced concepts such as modulation, modal borrowing, and focus on the Neapolitan chord.
  • New exercises for C clefs, secondary triads, improvisation, and duets further enhance aural and reading skills.
  • Additional ensemble examples and examples from the standard repertoire introduce students to a wider variety of musical styles.
  • Redesigned for improved readability, the text provides clearer headings and larger musical examples throughout.
  • The enhanced in-text CD offers practice in the rhythm and tonal patterns introduced in the book.
  • A new Companion Website (www.oup.com/us/krueger) provides more than 100 vocal pitch exercises, graphs depicting these exercises, teaching tips, solutions to exercises from the text, and many additional exercises.

About the Author(s)

Carol Krueger received a DMA in Choral Conducting from the University of Miami and has taught in public schools as well as in higher education. An active clinician and guest conductor, Dr. Krueger is widely recognized for her work with music literacy and has presented interest sessions at the American Choral Directors National Convention in New York, the ACDA Southern Division Convention in Nashville, and at MENC and ACDA state conventions throughout the United States.

Previous Publication Date(s)

February 2006

Reviews

"I have not yet found a student in my program who did not benefit from Progressive Sight Singing. It contains clear, progressive examples that illustrate concepts from a variety of perspectives, so that no matter how a student learns, this book covers it."--James Wiznerowicz, Virginia Commonwealth University

Table of Contents

    To the Instructor
    To the Student
    An Introduction to the Musical Literacy Process
    Strategies For Successful Sight Singing
    Building Musicianship and Independency


    PART I: RHYTHMIC READING

    1. Simple Meter -- Quarter Note = Beat Unit; Undivided Beat
    1.1 Building Aural/Oral Skills
    Beat, Tempo, Meter, Duple Meter, Triple Meter, Quadruple Meter, Rhythm
    1.2 Symbolic Association
    Score Notation, Whole Note/Rest, Half Note/Rest, Quarter Note/Rest, Meter Signature, Bar Lines, Double Bar Line
    1.3 Rhythm Patterns
    1.4 Exercises
    Canon, Retrograde Canon, Anacrusis, Bracket

    2. Simple Meter -- Quarter Note = Beat Unit; Divided Beat
    2.1 Building Aural/Oral Skills
    Macro Beat, Micro Beat
    2.2 Symbolic Association
    Motive, Eighth Note/Rest, Flag, Beam
    2.3 Rhythm Patterns
    2.4 Exercises
    Common Time

    3. Simple Meter -- Quarter Note = Beat Unit; Slur, Tie, and Extension Dot
    3.1 Building Aural/Oral Skills
    Tie, Extension Dot/Augmentation Dot, Slur, Legato, Phrase
    3.2 Symbolic Association
    3.3 Rhythm Patterns
    3.4 Exercises

    4. Terms and Symbols
    4.1 Symbolic Association: Performance Markings
    Interruptions in the Beat: Breath Mark, Fermata, Tenuto, Caesura, General Pause;
    Tempo Markings: Adagio, Andante, Moderato, Allegretto, Allegro, Metronome, M.M.;
    Changes in Tempo: Ritardando, Ritenuto, Accelerando, A Tempo, poco, poco à poco;
    Dynamic Markings: Pianissimo, Piano, Mezzo Piano, Mezzo Forte, Forte, Fortissimo;
    Changes in Tempo: Crescendo, Decrescendo, Diminuendo;
    Articulation: Staccato, Accent;
    Technical Terms: Repeat Sign, First and Second Endings
    4.2 Exercises

    5. Compound Meter -- Dotted Quarter = Beat Unit; Divided Beat
    5.1 Building Aural/Oral Skills
    Simple Meter, Duple Simple, Triple Simple, Quadruple Simple, Compound Meter, Duple Compound, Triple Compound, Quadruple Compound
    5.2 Symbolic Association
    5.3 Rhythm Patterns
    5.4 Exercises

    6. Simple Meter -- Quarter Note = Beat Unit; Borrowed Beat Division
    6.1 Building Aural/Oral Skills
    Borrowed Division, Triplet, Duplet, Cross-Rhythms
    6.2 Symbolic Association
    6.3 Rhythm Patterns
    6.4 Exercises

    7. Simple Meter -- Quarter Note = Beat Unit; Syncopation
    7.1 Building Aural/Oral Skills
    Syncopation, Dynamic Accent, Agogic Accent
    7.2 Symbolic Association
    7.3 Rhythm Patterns
    7.4 Exercises

    8. Simple Meter -- Quarter Note = Beat Unit; Subdivided Beat
    8.1 Building Aural/Oral Skills
    Beat Subdivision
    8.2 Symbolic Association
    8.3 Rhythm Patterns
    8.4 Exercises

    9. More Terms and Symbols
    9.1 Symbolic Association: Performance Markings
    Tempo Markings: Largo, Lento, Vivace, Presto;
    Changes in Tempo: Rallentando, Rubato, Con Moto, Meno Mosso;
    Character Terms: Cantabile, Dolce, Maestoso, Con Brio, Agitato;
    Dynamics: Sforzando, Sforzando-piano, Forte-piano; Articulation: Marcato;
    Other Terms: Subito, Più, Molto;
    Technical Terms: Da Capo, Dal Segno, Sign, Fine, Coda
    9.2 Exercises

    10. Simple Meter -- Quarter Note = Beat Unit; More Rhythms with Borrowed Beat Division
    10.1 Building Aural/Oral Skills
    10.2 Symbolic Association
    10.3 Rhythm Patterns
    10.4 Exercises

    11. Simple Meter -- Quarter Note = Beat Unit; More Rhythms with Syncopations
    11.1 Building Aural/Oral Skills
    11.2 Symbolic Association
    11.3 Rhythm Patterns
    11.4 Exercises

    12. Simple Meter -- Quarter Note = Beat Unit; More Rhythms with Subdivided Beat
    12.1 Building Aural/Oral Skills
    12.2 Symbolic Association
    12.3 Rhythm Patterns
    12.4 Exercises

    13. Simple Meter -- Half Note = Beat Unit
    13.1 Symbolic Association
    Alla Breve, Cut Time, Double Whole Note/Rest
    13.2 Rhythm Patterns
    13.3 Exercises

    14. Simple Meter -- Eighth Note = Beat Unit
    14.1 Symbolic Association
    14.2 Rhythm Patterns
    14.3 Exercises

    15. Compound Meter -- Dotted Quarter = Beat Unit; More Rhythms
    15.1 Building Aural/Oral Skills
    15.2 Symbolic Association
    15.3 Rhythm Patterns
    15.4 Exercises

    16. Compound Meter -- Dotted Half Note = Beat Unit
    16.1 Symbolic Association
    16.2 Rhythm Patterns
    16.3 Exercises

    17. Compound Meter -- Dotted Eighth Note = Beat Unit
    17.1 Symbolic Association
    17.2 Rhythm Patterns
    17.3 Exercises

    18. Simple Meter -- Irregular Division of Beat
    18.1 Building Aural/Oral Skills
    18.2 Symbolic Association
    Triplets, Quintuplets, Sextuplets, Septuplets, Measured Tremolo
    18.3 Rhythm Patterns and Exercises: Quarter Note = Beat Unit
    18.4 Exercises: Other Simple Meters

    19. Compound Meter -- Irregular Division of Beat
    19.1 Building Aural/Oral Skills
    19.2 Symbolic Association
    Duplets, Quadruplets, Quintuplets, Septuplets
    19.3 Rhythm Patterns and Exercises: Dotted Quarter Note = Beat Unit
    19.4 Exercises: Other Compound Meters

    20. Hemiola and Cross Rhythms
    20.1 Symbolic Association: Hemiola, 2:3, 3:2
    Hemiola, Superduplet, Supertriplet
    20.2 Exercises: Hemiola, 2:3, 3:2
    20.3 Symbolic Association: 3:4, 4:3, 2:5
    Superquadruplet
    20.4 Exercises: 3:4, 4:3, 2:5

    21. Asymmetrical Meters
    21.1 Symbolic Association
    21.2 Rhythm Patterns and Exercises: Beat Constant
    21.3 Rhythm Patterns and Exercises: Beat Division Constant

    22. Mixed Meters
    22.1 Symbolic Association
    22.2 Exercises

    PART II: MELODIC READING

    1. Tonic Pentachord in Major Mode; Simple Meters, Undivided Beat

    1.1 Building Aural/Oral Skills: Diatonic Steps
    Pentachord Scale, Intervals, Tonic Triad, Tertian, Root, Third, Fifth, Chord, Harmony, Arpeggio
    1.2 Symbolic Association: Diatonic Steps
    Score Notation, Staff, Line Note, Space Note, Second, Fourth
    1.3 Tonal and Melodic Patterns: Diatonic Steps
    1.4 Exercises: Diatonic Steps
    1.5 Building Aural/Oral Skills: Tonic Triad
    1.6 Symbolic Association: Tonic Triad
    1.7 Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad
    Root, Third, Fifth, Chord, Arpeggio
    1.8 Exercises: Diatonic Steps, Tonic Triad
    Clef Signs, Treble Clef, Bass Clef, Musical Alphabet, Key Signature, Hocket

    2. Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Undivided Beat
    2.1 Building Aural/Oral Skills: Diatonic Steps
    Major Scale, Diatonic, Non-diatonic, Intervals from Tonic, Scale Degrees, Unison, Prime
    2.2 Symbolic Association: Diatonic Steps
    Supertonic, Mediant, Subdominant, Dominant, Submediant, Leading Tone
    2.3 Tonal and Melodic Patterns: Diatonic Steps
    2.4 Exercises: Diatonic Steps
    Ledger Lines
    2.5 Building Aural/Oral Skills: Diatonic Steps, Tonic Triad
    Half Step, Semi-tone, Whole Step, Inverted Tonic Triads, Intervals of a Fourth
    2.6 Symbolic Association: Diatonic Steps, Tonic Triad
    Major Key Signature, Harmonic Triad, Melodic Triad
    2.7 Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad
    2.8 Exercises: Diatonic Steps, Tonic Triad

    3. Diatonic Steps and Tonic Triad in the Natural Minor Scale; Simple Meters, Undivided Beat
    3.1 Building Aural/Oral Skills: Diatonic Steps, Tonic Triad
    Natural Minor Scale, Tonic Triad, Intervals from Tonic
    3.2 Symbolic Association: Diatonic Steps, Tonic Triad
    Minor Key Signatures, Subtonic
    3.3 Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad
    3.4 Exercises: Diatonic Steps, Tonic Triad

    4. Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Divided Beat
    4.1 Integrating Rhythm and Tonal Skills: Major Mode
    Quality and Quantity of Intervals From Tonic
    4.2 Symbolic Association: Major Mode
    4.3 Melodic Patterns: Major Mode
    4.4 Exercises: Major Mode

    5. Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Dotted Quarter Notes
    5.1 Integrating Rhythm and Tonal Skills: Major Mode
    Major and Minor Thirds, Perfect and Augmented Fourths in the Major Scale, Triads Built on Each Scale Degree
    5.2 Symbolic Association: Major Mode
    Motive, Sequence, Phrase, Melodic Cadence, Progressive Cadence, Terminal Cadence, Through-Composed
    5.3 Melodic Patterns: Major Mode
    5.4 Exercises: Major Mode

    6. Natural Minor Scale; Simple Meters, Eighth and Dotted Quarter Notes
    6.1 Building Aural/Oral Skills: Natural Minor Scale
    Intervals from Tonic; Major and Minor Thirds, Perfect and Augmented Fourths, Triads Built on Each Scale Degree; Major, Minor, and Diminished Triads
    6.2 Symbolic Association: Natural Minor Scale
    6.3 Tonal and Melodic Patterns: Natural Minor Scale
    6.4 Exercises: Natural Minor Scale

    7. Harmonic and Melodic Minor Scales; Simple Meters, Eighth and Dotted Quarter Notes
    7.1 Building Aural/Oral Skills: Harmonic Minor Scale
    Intervals from Tonic; Major and Minor Thirds, Perfect and Augmented Fourths, Triads Built on Each Scale Degree, Augmented Triad
    7.2 Symbolic Association: Harmonic Minor Scale
    7.3 Tonal and Melodic Patterns: Harmonic Minor Scale
    7.4 Exercises: Harmonic Minor Scale
    7.5 Building Aural/Oral Skills: Melodic Minor Scale
    Intervals from Tonic; Major and Minor Thirds, Perfect and Augmented Fourths
    7.6 Symbolic Association: Melodic Minor Scale
    7.7 Tonal and Melodic Patterns: Melodic Minor Scale
    7.8 Exercises: Melodic Minor Scale
    7.9 Exercises: Intervals in Tonic Triad (i) and Mediant Triad (III)/Relative Major

    8. Major and Minor Modes; Compound Meters -- Dotted Quarter = Beat Unit
    8.1 Integrating Rhythm and Tonal Skills: Major Mode
    8.2 Symbolic Association: Major Mode
    8.3 Melodic Patterns: Major Mode
    8.4 Exercises: Major Mode
    8.5 Integrating Rhythm and Tonal Skills: Minor Mode
    8.6 Symbolic Association: Minor Mode
    8.7 Melodic Patterns: Minor Mode
    8.8 Exercises: Minor Mode
    8.9 Exercises: Intervals in Tonic Triad (i) and Major Triad (III)/Relative Major

    9. I and V7 in Major Mode; Simple and Compound Meters
    9.1 Building Aural/Oral Skills: Dominant Triad, Major Mode
    Chromatic Scale, Ascending and Descending Intervals Moving Out From the Tonic in the Major Scale, Dominant Triad, First Inversion Triads Built on Each Degree of the Major Scale
    9.2 Symbolic Association: Dominant Triad, Major Mode
    Chord Tone, Neighbor Tone, Passing Tone
    9.3 Tonal Patterns: Dominant Triad, Major Mode
    9.4 Exercises: Dominant Triad, Major Mode, Simple Meters
    9.5 Building Aural/Oral Skills: Dominant Seventh Chord, Major Mode
    Dominant Seventh Chord, Third Inversion, Second Inversion Triads Built on Each Degree of the Major Scale
    9.6 Symbolic Association: Dominant Seventh Chord, Major Mode
    9.7 Tonal Patterns: Dominant Seventh Chord, Major Mode
    9.8 Exercises: Dominant Seventh Chord, Major Mode, Simple Meters
    9.9 Exercises: Dominant and Dominant Seventh, Major Mode, Compound Meters

    10. i and V7 in Minor Mode; Simple and Compound Meters
    10.1 Building Aural/Oral Skills: Dominant Triad, Minor Mode
    Ascending and Descending Intervals Moving Out from the Tonic in the Natural Minor Scale, Dominant Triad in Minor, First Inversion Triads Built on Each Degree of the Minor Scales
    10.2 Symbolic Association: Dominant Triad, Minor Mode
    10.3 Tonal Patterns: Dominant Triad, Minor Mode
    10.4 Exercises: Dominant Triad, Minor Mode, Simple Meters
    10.5 Building Aural/Oral Skills: Dominant Seventh Chord, Minor Mode
    Dominant Seventh Chord, Third Inversion, Second Inversion Triads Built on Each Degree of the Minor Scale
    10.6 Symbolic Association: Dominant Seventh Chord, Minor Mode
    10.7 Tonal Patterns: Dominant Seventh Chord, Minor Mode
    10.8 Exercises: Dominant Seventh Chord, Minor Mode, Simple Meters
    10.9 Exercises: Dominant and Dominant Seventh, Minor Mode, Compound Meters

    11. I and V7 in Major Mode; Other Rhythms in Simple Meters
    11.1 Integrating Rhythm and Tonal Skills: Major Mode
    Chromatic Intervals
    11.2 Symbolic Association
    11.3 Melodic Patterns and Exercises: Triplets, Tonic Only
    11.4 Melodic Patterns and Exercises: Syncopation, Tonic Only
    11.5 Melodic Patterns and Exercises: Subdivided Beat, Tonic Only
    11.6 Exercises: Combined Rhythms, Tonic Only
    11.7 Exercises: Combined Rhythms, Tonic and Dominant

    12. i and V7 in Minor Mode; Other Rhythms in Simple Meters
    12.1 Integrating Rhythm and Tonal Skills: Minor Mode
    12.2 Symbolic Association
    12.3 Melodic Patterns and Exercises: Triplets, Tonic Only
    12.4 Melodic Patterns and Exercises: Syncopation, Tonic Only
    12.5 Melodic Patterns and Exercises: Subdivided Beat, Tonic Only
    12.6 Exercises: Combined Rhythms, Tonic Only
    12.7 Exercises: Combined Rhythms, Tonic and Dominant

    13. I and V7 in Major and Minor Modes; Half Note = Beat Unit
    13.1 Integrating Rhythm and Tonal Skills: Major and Minor Modes
    13.2 Symbolic Association
    13.3 Melodic Patterns and Exercises: Major Mode, Tonic Only
    13.4 Exercises: Major Mode, Tonic and Dominant
    13.5 Melodic Patterns and Exercises: Minor Mode, Tonic Only
    13.6 Exercises: Minor Mode, Tonic and Dominant

    14. I and V7 in Major and Minor Modes; Eighth Note = Beat Unit
    14.1 Integrating Rhythm and Tonal Skills: Major and Minor Modes
    Ascending and Descending Chromatic Intervals Moving Out From Tonic
    14.2 Symbolic Association
    14.3 Melodic Patterns and Exercises: Major Mode, Tonic Only
    14.4 Exercises: Major Mode, Tonic, and Dominant
    14.5 Melodic Patterns and Exercises: Minor Mode, Tonic Only
    14.6 Exercises: Minor Mode, Tonic, and Dominant

    15. I and V7 in Major and Minor; Compound Meters -- More Rhythms
    15.1 Integrating Rhythm and Tonal Skills: Major and Minor Modes
    Major, Minor, Augmented, and Diminished Triads
    15.2 Symbolic Association
    15.3 Melodic Patterns and Exercises: Major Mode, Tonic Only
    15.4 Exercises: Major Mode, Tonic and Dominant
    15.5 Melodic Patterns and Exercises: Minor Mode, Tonic Only
    15.6 Exercises: Minor Mode, Tonic and Dominant

    16. The Moveable C Clefs
    16.1 Symbolic Association
    C Clefs: Soprano, Mezzo-Soprano, Alto, Tenor, Baritone
    16.2 Exercises: Major and Minor Modes, Tonic and Dominant

    17. I, IV, and V7 in Major Mode; Simple and Compound Meters
    17.1 Building Aural/Oral Skills: Sub-Dominant Triad, Major Mode
    Subdominant Triad in Major
    17.2 Symbolic Association
    17.3 Tonal Patterns: Subdominant Triad, Major Mode
    17.4 Exercises: I, IV, V7, Major Mode, Simple Meters
    17.5 Exercises: I, IV, V7, Major Mode, Compound Meters

    18. i, iv, and V7 in Minor Mode; Simple and Compound Meters
    18.1 Building Aural/Oral Skills: Subdominant Triad, Minor Mode
    Subdominant Triad in Minor
    18.2 Symbolic Association
    18.3 Tonal Patterns: Subdominant Triad, Minor Mode
    18.4 Exercises: i, iv, IV, and V7, Minor Mode, Simple Meters
    18.5 Exercises: i, iv, IV, and V7, Minor Mode, Compound Meters

    19. Other Diatonic Triads and Seventh Chords in Major and Minor Modes
    19.1 Building Aural/Oral Skills: Diatonic Seventh Chords in Major Mode
    Seventh Chords
    19.2 Symbolic Association
    19.3 Tonal Patterns: ii, iii, vi, vii°, Major Mode
    19.4 Exercises: ii, iii, vi, vii°, Major Mode
    19.5 Building Aural/Oral Skills: Diatonic Seventh Chords in Minor Mode
    19.6 Symbolic Association
    19.7 Tonal Patterns: ii°, III, VI, VII, Minor Mode
    19.8 Exercises: ii°, III, VI, VII, Minor Mode

    20. Chromaticism: Nonharmonic Tones
    20.1 Building Aural/Oral Skills
    Chromaticism, Nonharmonic Tones
    20.1 Symbolic Association
    20.2 Tonal Patterns
    Major Mode
    Minor Mode
    20.3 Exercises

    21. Chromaticism: Secondary Dominants
    21.1 Building Aural/Oral Skills
    Tonicization, Secondary Dominants
    21.2 Symbolic Association
    21.3 Tonal Patterns and Exercises: Raised Fourth Scale Degree, Major Mode
    21.4 Tonal Patterns and Exercises: Raised Fourth Scale Degree, Minor Mode
    21.5 Tonal Patterns and Exercises: Lowered Seventh Scale Degree, Major Mode
    21.6 Tonal Patterns and Exercises: Raised Tonic, Major Mode
    21.7 Tonal Patterns and Exercises: Raised Second Scale Degree, Major Mode
    21.8 Tonal Patterns and Exercises: Raised Third Scale Degree, Minor Mode
    21.9 Exercises: Secondary Dominants and Nonharmonic Tones

    22. Chromaticism: Modulation
    22.1 Symbolic Association
    Modulation, Closely Related Keys, Distantly Related Keys, Neapolitan Triad
    22.2 Exercises: Modulation to the Dominant
    22.3 Exercises: Modulation to Closely Related Keys
    22.4 Exercises: Remote Modulation

    23. Chromaticism: Modulation
    23.1 Building Aural/Oral Skills
    Modal Mixture, Parallel Scales, Neapolitan Triad
    23.2 Symbolic Association
    23.3 Patterns: Modal Mixture
    23.4 Exercises: Modal Mixture
    23.5 Exercises: Neapolitan Triad

    24. Modes
    24.1 Symbolic Association: Diatonic Seven-Tone Scales
    Medieval Modes, Church Modes, Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian
    24.2 Exercises

    Appendix A: Rhythm Reading Systems
    Overview of Systems
    Gordon Syllables
    Takademi Syllables
    McHose and Tibbs Syllables
    Kodály Syllables
    Rhythm Syllable Charts
    Gordon Syllables
    Takademi Syllables
    McHose and Tibbs Syllables
    Kodály Based Syllables


    Appendix B: Tonal Reading Systems
    Solmization
    Moveable Do
    Fixed Do
    Numbers
    Letter Names
    Hand Signs
    Tonal Ladder

    Appendix C: Dictation System
    Rhythm
    Simple Meter
    Compound Meter
    Tonal
    Melodic

    Appendix D: Conducting Patterns

    Appendix E: Glossary of Musical Terms

    Index