ISBN-10:
007312706X
ISBN-13:
9780073127064
Pub. Date:
06/30/2006
Publisher:
McGraw-Hill Higher Education
Sight Singing Complete / Edition 7

Sight Singing Complete / Edition 7

by Maureen Carr, Bruce BenwardMaureen Carr
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Overview

Designed for the sight singing component of the Freshman and Sophomore music major curriculum, Sight Singing Complete presents the essential components of this sometimes difficult skill in a practical and effective manner.

"Hearing music with one's eyes" has served as the theme of Sight Singing Complete since the first edition. In order to reach this goal, the sequence of instructional material is designed to help students develop the aural skills that will enable them to reverse the compositional process of sound into symbol to one of symbol into sound. The comprehensive and systematic approach employs literature, drawing most of the examples from actual pieces instead of devising contrived melodies.

The abundant new exercises in this edition refresh the text, even as the proven exercises continue to educate students.

Product Details

ISBN-13: 9780073127064
Publisher: McGraw-Hill Higher Education
Publication date: 06/30/2006
Edition description: Older Edition
Pages: 368
Product dimensions: 8.80(w) x 10.70(h) x 0.70(d)

About the Author

Maureen A. Carr, professor of music theory, is the recipient of the 2005 Penn State Faculty Scholar Medal for Outstanding Achievement in the Arts and Humanities. Carr received her award for her books, Multiple Masks: Neoclassicism in Stravinsky's Dramatic Works on Greek Subjects (University of Nebraska Press, 2002) and Stravinsky's Histoire du soldat (A-R Editions, 2005), which position her as an authority on Stravinsky's musical sketches and one of the leading scholars on the music of Stravinsky.

Her research has been conducted primarily in Switzerland at the Paul Sacher Stiftung in Basel. In addition, she has worked at archives in Winterthur, Lausanne, London and Paris. She has received grants from the Penn State Institute for the Arts and Humanities, the College of Arts and Architecture, the American Association of University Women and Pro Helvetia. She has presented papers at national and international conferences in Belgium, England and Ireland (June, 2005). This summer, she will continue her research in European archives, for a new book addressing the collaboration between Stravinsky and Picasso for Pulcinella. In the Fall semester, she will be in residence at the Penn State Institute for the Arts and Humanities. She will present her research on Pulcinella at the 2005 meeting of the American Musicological Society in Washington, D. C.

Carr has a B. A. from Marywood College, an M.F.A. from Rutgers and a Ph.D. from the University of Wisconsin at Madison. She has served on several national and regional committees related to the field of music theory. In 1995, she received the College of Arts and Architecture's Outstanding Teaching Award. In 1998, she was named a Distinguished Alumna by the University at Madison School of Music and in 2004 received a Marywood University Professional Achievement Award.

Bruce Benward has been widely regarded as one of the most gifted music theory pedagogues since his textbooks first appeared in the 1960s, and has exerted a wide influence on the teaching of music theory both through his writings and through the generation of teachers that he taught. He recently retired from the University of Wisconsin at Madison.

Table of Contents

Unit 1

A. Rhythm—Simple Meter: One-, Two-, and Three-Beat Values

B. Diatonic Models and Melodic Fragments for Interval Singing: M2nd and m2nd

C. Melodies (Major): M2 and m2

D. Melodies (Major): P5, P4, M3, and m3 within the Tonic Triad and M2 and m2

E. Ensembles—Two Voices: M2 and m2

Unit 2

A. Rhythm—Compound Meter: Triple Division of the Beat

B. Diatonic Models and Melodic Fragments for Interval Singing: P5, P4, M3, m3, M2, and m2

C. Melodies (Major): P5, P4, M3, and m3 within the Tonic Triad and M2 and m2

D. Melodies (Major): P5, P4, M3, and m3 within the Tonic Triad and M2 and m2

E. Ensembles—Two Voices: P5, P4, M3, and m3 within the Tonic Triad and M2 and m3

Unit 3

A. Rhythm—Simple Meter: Duple Division of the Beat

B. Diatonic Models and Melodic Fragments for Interval Singing: P8, P5, P4, M3, m3, M2, and m2

C. Melodies (Major): P5, P4, M3, and m3 within the Tonic Triad and M2 and m2

D. Melodies (Minor)

E. Ensembles—Two Voices: P5, P4, M3, and m3 within the Tonic Triad and M2 and m2

Unit 4

A. Rhythm—Simple Meter: Quadruple Subdivision of the Beat

B. Diatonic Models and Melodic Fragments for Interval Singing: m10, P8, P5, P4, M3, m3, M2, and m2

C. Melodies (Major and Minor): P5, P4, M3, m3, M2, and m2

D. Melodies (Major and Minor): P5, P4, M3, m3, M2, and m2

E. Ensembles

Unit 5

A. Rhythm—Simple Meter: Irregular Division of the Beat (the Triplet)

B. Diatonic Models and Melodic Fragments for Interval Singing—New Intervals: M6 and m6

C. Melodies (Major and Minor): New Intervals: M6 and m6

D. Melodies (Major and Minor): New Intervals: M6 and m6

E. Ensembles

Unit 6

A. Rhythm—Simple Meter: More Difficult—Quadruple Subdivision of the Beat

B. Diatonic Models and Melodic Fragments for Interval Singing—Review: M6 and m6

C. Melodies (Major and Minor): M6 and m6

D. Melodies (Major and Minor): M6 and m6

E. Ensembles

Unit 7

A. Rhythm—Review of Simple Meter with Emphasis on Irregular Division of the Beat: The Triplet

B. Diatonic Models and Melodic Fragments for Interval Singing—New Interval: M7

C. Melodies (Major and Minor): New Intervals: M6 and m6

D. Melodies (Major and Minor): New Intervals: M6 and m6

E. Ensembles

Unit 8

A. Rhythm—Review of Simple Meter and Compound Meter

B. Diatonic Models and Melodic Fragments for Interval Singing—New Interval: M7

C. Melodies (Major and Minor): m7

D. Melodies (Major and Minor): m7

E. Ensembles

Unit 9

A. Rhythm—Compound Meter: Subdivision of the Beat

B. Diatonic Models and Melodic Fragments for Interval Singing—New Intervals: A4 and d5

C. Melodies (Major and Minor): Chromatic Alterations, Modulating and Nonmodulating

D. Melodies (Major and Minor): Chromatic Alterations, Modulating and Nonmodulating

E. Ensembles

Unit 10

A. Rhythm—Simple Meter: Mixed Meters and Irregular Division of the Beat

B. Diatonic and Chromatic Models and Melodic Fragments for Interval Singing—Review: A4 and d5

C. Melodies with Chromatic Alterations

D. Melodies with Chromatic Alterations: Modulating

E. Ensembles

Unit 11

A. Rhythm—Compound Meter and Simple Meter: Irregular Divisions of the Beat (the Quartolet in Compound Meter, and the Triplet in Simple Meter)

B. Diatonic and Chromatic Models and Melodic Fragments for Interval Singing—New Intervals: d7 and A2

C. Melodies with Unusual Modal Characteristics

D. Melodies—Chromatic Alterations: Modulating and Nonmodulating

E. Ensembles

Unit 12

A. Rhythm—Compound Meter and Simple Meter: Subdivision of the Beat into Eight Parts

B. Diatonic and Chromatic Models and Melodic Fragments for Interval Study—New Intervals: A6 and d3

C. Melodies with Unusual Modal Characteristics

D. Melodies—Chromatic Alterations: Modulating and Nonmodulating

E. Ensembles

Unit 13

A. Rhythm—Simple Meter: The Supertriplet

B. Diatonic and Chromatic Models and Melodic Fragments for Interval Singing—New Interval: d4

C. Melodies Related to Jazz

D. Melodies by Duke Ellington

E. Ensembles

Unit 14

A. Rhythm—Simple Meter and Compound Meter: The Subtriplet

B. Diatonic, Chromatic, Whole-Tone, and Octatonic Models and Melodic Fragments for Interval Singing

C. Twentieth-Century Cabaret Songs by Arnold Schoenberg

D. Twentieth-Century Songs

E. Ensembles

Unit 15

A. Rhythm—Changing Meters

B. Diatonic, Chromatic, Whole-Tone, and Octatonic Models and Melodic Fragments for Interval Study

C. Twentieth-Century Songs for Careful Study and Preparation

D. Vocalises by Arthur Honegger, Bohuslav Martinū, and Olivier Messiaen

E. Ensembles of the Twentieth Century

Unit 16

A. Rhythm—Twentieth-Century Excerpt for Percussion

B. Twelve-Tone Models and Melodic Fragments for Interval Study

C and D. Twentieth-Century Melodies for Careful Study and Preparation

E. Ensembles of the Twentieth Century

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