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Produktbild: Ear Training and Sight Singing: A Developmental Aural Skills Text

Ear Training and Sight Singing: A Developmental Aural Skills Text

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Beschreibung

Produktdetails

Einband

Taschenbuch

Erscheinungsdatum

14.03.2013

Verlag

Oxford University Press

Seitenzahl

432

Maße (L/B/H)

28,1/22,3/1,7 cm

Gewicht

962 g

Sprache

Englisch

ISBN

978-0-19-544617-3

Beschreibung

Produktdetails

Einband

Taschenbuch

Erscheinungsdatum

14.03.2013

Verlag

Oxford University Press

Seitenzahl

432

Maße (L/B/H)

28,1/22,3/1,7 cm

Gewicht

962 g

Sprache

Englisch

ISBN

978-0-19-544617-3

Herstelleradresse

Libri GmbH
Europaallee 1
36244 Bad Hersfeld
DE

Email: gpsr@libri.de

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  • Produktbild: Ear Training and Sight Singing: A Developmental Aural Skills Text


    • Author's Preface and Acknowledgements


    • Publisher's Preface


    • Part I Basic Diatonic and Rhythmic Material




    • Scales


    • The major scale


    • The solfège system


    • Movable do


    • Singing major scales using solfège


    • Curwen hand signs


    • Intervals


    • Seconds and thirds


    • Singing melodic intervals: scale-degree patterns and referential melodies


    • Hearing harmonic seconds and thirds


    • Melody


    • Transcribing scalar melodies


    • Singing scalar melodies using solfège


    • Triads


    • The major triad


    • Singing major triads from the root


    • Rhythm


    • Simple meter: notation and transcription


    • Reading and performing rhythms in simple time


    • Conducting patterns


    • Vocalizing strategies


    • Harmony


    • Tonic dominant: getting the bass line


    • Assignments


    • Assignment 1


    • Online assignment 1


    • Repertoire


    • Scale degree exercises


    • Solfège melodies


    • Rhythms




    • Scales


    • The minor scales


    • Singing the natural minor scale


    • The harmonic form of the minor scale


    • Singing the harmonic minor scale


    • Intervals


    • Perfect fourths,fifths, and octaves


    • Melody


    • The tonic triad (I/i)


    • Singing melodies with tonic arpeggios


    • Triads


    • The minor triad


    • Singing minor triads from the root


    • Rhythm


    • Simple: rests


    • Simple: tied notes


    • Transcribing rests and tied notes in simple meter


    • Harmony


    • I, IV, V, and V7 in root position


    • Subdominant harmony (IV and iv)


    • Assignments


    • Assignment 2


    • Online assignment 2


    • Repertoire


    • Scale degree exercises


    • Solfège melodies and duets


    • Rhythms




    • Scales


    • The melodic form of the minor scale


    • Singing the melodic minor scale


    • Intervals


    • Major and minor sixths


    • Melody


    • The dominant triad (V) and dominant-seventh chord (V7)


    • Singing melodies with dominant and dominant-seventh arpeggios


    • Triads


    • Singing major and minor triads from the third and fifth


    • Rhythm


    • Compound meters: notation, transcription, and reading


    • Harmony


    • I, IV, V in root position and first inversion, V7 in root position


    • Assignments


    • Assignment 3


    • Online assignment 3


    • Repertoire


    • Scale degree exercises


    • Solfège melodies


    • Solfège duets


    • Rhythms




    • Scales


    • More practice with the major scale and all forms of minor scales


    • Intervals


    • Major and minor sevenths


    • Three Methods for Singing Sevenths


    • Melody


    • The subdominant triad (IV and iv)


    • Singing melodies with subdominant arpeggios


    • Triads


    • Isolating outer voices (factors) in major and minor triads


    • Rhythm


    • Compound meter: tied notes and rests


    • Harmony


    • Linear progression: the viio6 harmony


    • Focus: the bass voice


    • The Minor Dominant (v6) in Minor Keys


    • Assignments


    • Assignment 4


    • Online Assignment 4


    • Repertoire


    • Scale degree exercises


    • Solfège melodies


    • Solfège duets


    • Rhythms




    • Scales


    • The jazz melodic minor scale


    • Intervals


    • Tritones


    • Singing tritones: referential melodies


    • Melody


    • Tritone leaps


    • Singing melodies with tritone leaps and supertonic arpeggios


    • Triads


    • Outer voices in major and minor triads: alternative doublings


    • Rhythm


    • The anacrusis (upbeat)


    • Compound and simple meters:new beat and division values


    • Harmony


    • Supertonic harmony: ii, ii6, and iio6


    • Submediant (vi/VI) and mediant (iii/III) harmonies


    • The minor supertonic in minor keys


    • Assignments


    • Assignment 5


    • Online assignments 5 and 6


    • Repertoire


    • Scale degrees exercises


    • Solfège melodies


    • Solfège duets


    • Rhythms




    • Scales


    • The church modes


    • The Lydian mode


    • Intervals


    • More practice with intervals to the perfect octave


    • Melody


    • Practice melodies for transcription


    • Practice melodies for sight-singing


    • Triads


    • The diminished triad


    • Singing the diminished triad


    • Rhythm


    • More practice with rhythmic transcription


    • Harmony


    • Review of root position and first inversion harmonies


    • Passing and neighbouring tones


    • Special harmonies in minor keys and the subtonic; diminished submediant


    • Assignments


    • Assignment 6


    • Online assignment 7 (review) and 8


    • Repertoire


    • Scale-Degree Exercises


    • Solfège melodies


    • Solfège duets


    • Rhythms


    • Part II Intermediate Diatonic and Rhythmic Material




    • Scales


    • More practice with Lydian mode


    • Intervals


    • Melodic intervals in series


    • Melody


    • The leading-tone triad (viio)


    • Singing melodies with leading-tone arpeggios


    • Triads


    • The augmented triad


    • Singing the augmented triad


    • Rhythm


    • Simple meter: beat division into four


    • Harmony


    • The passing six-four (P6/4) harmony


    • Assignments


    • Assignment 7


    • Online assignment 9


    • Repertoire


    • Scale degree exercises


    • Solfège melodies


    • Solfège duets


    • Rhythms




    • Scales


    • The Mixolydian mode


    • Intervals


    • Harmonic intervals in series


    • Melody


    • Practice melodies for transcription and singing


    • Triads


    • Singing major and minor triads in root position given the third or fifth


    • Identifying outer voices in diminished triads


    • Rhythm


    • Harmony


    • The neighbouring six-four (N6/4) harmony


    • The circle of fifths


    • Assignments


    • Assignment 8


    • Online assignment 10


    • Repertoire


    • Scale degree exercises


    • Solfège melodies


    • Solfège duets


    • Rhythms




    • Scales


    • More practice with Mixolydian mode


    • More practice with major and minor scales


    • Intervals


    • Singing melodic intervals in series


    • More practice hearing series of harmonic intervals


    • Melody


    • Introduction to two-part melodic dictation


    • Review of supertonic and leading-tone arpeggios


    • Review of Mixolydian Mode


    • Triads


    • Singing major and minor triads in inversion


    • Rhythm


    • More challenging exercises with ties and rests


    • Introduction to two-part rhythm reading


    • Harmony


    • The cadential six-four (C6/4) harmony


    • Longer harmonic progressions


    • Assignments


    • Assignment 9


    • Online assignment 11


    • Repertoire


    • Scale degree exercises


    • Solfège melodies


    • Solfège duets


    • Rhythms


    • Two-part rhythms




    • Scales


    • The Dorian mode


    • Intervals


    • Longer series of melodic and harmonic intervals


    • Melody


    • Transcription and singing in different modes


    • More two-part melodic transcription


    • Triads


    • Singing the diminished triad in first inversion


    • Rhythm


    • More practice with simple and compound meters Reading two-part rhythms with rests and ties


    • Harmony


    • The arpeggio six-four (A6/4) harmony


    • Review of All Six-Four Harmonies


    • Assignments


    • Assignment 10


    • Online assignments 12 and 13


    • Repertoire


    • Scale degree exercises


    • Solfège melodies


    • Solfège duets


    • Rhythms


    • Two-part rhythms




    • Scales


    • Review of major and minor scales; Lydian, Mixolydian, and Dorian modes


    • Intervals


    • Review of all intervals up to the perfect octave


    • Melody


    • Eight-measure melodies for transcription, part 1


    • Review of major and minor melodies with wide-interval leaps


    • Triads


    • Review of all triads


    • Rhythm


    • Harmony


    • Outer-voice transcriptions in musical notation


    • Inverted harmony: the V6/5 chord


    • Clefs


    • Alto and tenor clefs


    • Assignments


    • Assignment 11


    • Online assignments 14 (review) and 15


    • Repertoire


    • Melodies


    • Duets


    • Rhythms


    • Two-part rhythms


    • Part III Advanced Diatonic and Rhythmic Material




    • Scales


    • The Phrygian mode


    • Intervals


    • Compound intervals: ninths and tenths


    • Melody


    • Eight-measure melodies for transcription, part 2


    • More practice melodies for singing


    • Chords


    • Chords out of context: the major-minor-seventh chord (Mm7)


    • Rhythm


    • More practice with Compound and simple time meters


    • Two-part rhythmic transcription


    • Harmony


    • Inverted dominant-seventh harmony: the V4/2 chord


    • Non-harmonic tones: unaccented NHTs


    • Assignments


    • Assignment 12


    • Online assignment 16


    • Repertoire


    • Melodies


    • Duets


    • Rhythms


    • Two-Part Rhythms




    • Scales


    • The Locrian mode


    • Intervals


    • Compound intervals: perfect elevenths, twelfths, and fifteenths


    • Singing elevenths, twelfths, and fifteenths


    • Melody


    • Eight-measure melodies for transcription: sentence structure


    • Singing melodies: focus on cadences


    • Chords


    • Chords out of context: the minor-seventh chord (mm7) and the major-seventh chord (MM7)


    • Rhythm


    • Borrowed division: triplets in simple meter


    • More practice with second-level division in compound meter


    • Harmony


    • Inverted dominant-seventh harmony: the V4/3 chord


    • Non-harmonic tones: accented NHTs


    • Assignments


    • Assignment 13


    • Online Assignment 17


    • Repertoire


    • Melodies


    • Duets


    • Rhythms


    • Two-part rhythms




    • Scales


    • More practice with scales and modes


    • Intervals


    • Compound intervals: thirteenths,fourteenths and the compound tritone


    • Melody


    • Eight-measure melodies for transcription: period structure


    • Singing melodies: focus on structure


    • Chords


    • More practice with mm7 and the MM7 chords


    • Rhythm


    • Syncopation from sixteenth-notes


    • Simple meter: Two-part rhythmic dictation using triplets


    • Harmony


    • Other seventh-chords: I7, IV7, and II7 (root position only)


    • Sequence: the circle of fifths


    • Assignment 14


    • Assignment 14


    • Online assignment 18


    • Repertoire


    • Melodies


    • Duets


    • Rhythms


    • Two-part rhythms




    • Scales


    • The pentatonic scale


    • Intervals


    • More practice with compound intervals


    • Melody


    • More melodies for transcription and singing


    • Chords


    • Hearing the upper voice in Mm7, MM7, and mm7


    • Rhythm


    • Borrowed division: duplets in compound meters


    • Compound meters: other dotted-rhythm cells


    • Harmony


    • Inverted predominant sevenths: ii6/5 and iiØ6/5


    • Assignments


    • Assignment 15


    • Online assignment 19 and 20 (review)


    • Repertoire


    • Melodies


    • Duets


    • Rhythms


    • Two-part rhythms




    • Scales


    • The whole-tone scale


    • Intervals


    • Multiple compound intervals, Part 1


    • Simple melodic and harmonic intervals in series


    • Melody


    • Melodies with chromaticism


    • Singing melodies with chromaticism


    • Chords


    • Chords out of context: the half-diminished-seventh chord (dm7 or Ø7)


    • Mm7 chords as V7: identifying the upper voice and the inversion


    • Rhythm


    • Irregular meters : 5/4 and 7/8


    • Harmony


    • All diatonic harmonies review


    • Modal mixture


    • Assignments


    • Assignment 16


    • Online assignment 21 (review) and 22


    • Repertoire


    • Melodies


    • Duets


    • Rhythms


    • Two-part rhythms




    • Scales


    • The Octatonic scale


    • Intervals


    • Multiple compound intervals, Part 2: further exercises


    • Melody


    • More practice with hearing chromaticism in melodies


    • More practice with singing chromaticism in melodies


    • Chords


    • All triads: adding inner voices


    • Chords out of context: the fully-diminished-seventh chord (dd7 or o7)


    • Rhythm


    • Irregular meter: 8/8


    • Borrowed division: more tuplets


    • Harmony


    • Hearing viiØ7 and viio7


    • Assignments


    • Assignment 17


    • Online assignment 23


    • Repertoire


    • Melodies


    • Duets


    • Rhythms


    • Two-part rhythms


    • Part IV Chromatic and Atonal material; More advanced rhythmic material




    • Scales


    • The blues scale


    • Intervals


    • Melodic atonal intervals in series


    • Singing melodic atonal intervals in series


    • Melody


    • Modulating melodies


    • Singing modulating melodies


    • Simple chromaticism in two-part melodies


    • Chords


    • Mm7 chords: adding upper voices


    • Rhythm


    • Changing meters


    • Harmony


    • Chromatic harmony: the Neapolitan sixth chord (bII6)


    • Assignments


    • Assignment 18


    • Online assignment 24


    • Repertoire


    • Melodies


    • Duets


    • Rhythms


    • Two-part rhythms




    • Scales


    • Non-traditional scales


    • Intervals


    • Harmonic compound intervals in series


    • More practice with melodic atonal intervals in series


    • Melody


    • More modulating melodies


    • Modulating melodies with chromaticism


    • More chromaticism in two-part melodies


    • Chords


    • Other seventh chords: adding inner voices


    • Rhythm


    • More practice with triplets, tuplets, and duplets Further levels of beat division


    • Borrowed divisions: the subtriplet and the supertriplet


    • Harmony


    • Chromatic harmony: the augmented sixth chords


    • Assignments


    • Assignment 19


    • Online assignment 25


    • Repertoire


    • Melodies


    • Duets


    • Rhythms


    • Two-part rhythms




    • Scales


    • Olivier Messiaen's modes of limited transposition


    • Intervals


    • More practice with harmonic compound intervals in series


    • More practice with melodic atonal intervals in series


    • Melody


    • Melodies that modulate to other key areas


    • More chromaticism in modulating melodies


    • Chords


    • Chords out of context: the dominant-ninth chord (V9)


    • Singing dominant-ninth arpeggios


    • The mM7 chord


    • Rhythm


    • Advanced rhythm transcription and reading


    • Harmony


    • V9 in harmonic progressions


    • Applied dominants: [V7] and [V6/5]


    • Assignments


    • Assignment 20


    • Online assignment 26, 27, 28


    • Repertoire


    • Melodies


    • Duets


    • Rhythms


    • Two-part rhythms


    • Appendix I: Curwen hand signs


    • Appendix II: Referential melodies


    • Appendix III: Rhythmic shorthand


    • Appendix IV: Chromatic variants of the movable-do Solfège system


    • Glossary of musical terms


    • Index