MT870.O86

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Part I Chapter 1 - RHYTHM: Simple Meters; The Beat and Its Division into Two Parts Chapter 2 - MELODY: Stepwise Melodies, Major Keys RHYTHM: Simple Meters; The Beat and Its Division into Two Parts Chapter 3 - MELODY: Leaps within the Tonic Triad, Major Keys RHYTHM: Simple Meters Chapter 4 - MELODY: Leaps within the Tonic Triad, Major Keys RHYTHM: Compound Meters; The Beat and Its Division into Three Parts Chapter 5 - MELODY: Minor Keys; Leaps within the Tonic Triad RHYTHM: Simple and Compound Meters Chapter 6 - MELODY: Leaps within the Dominant Triad (V); Major and Minor Keys RHYTHM: Simple and Compound Meters Chapter 7 - THE C CLEFS: Alto and Tenor Clefs Chapter 8 - MELODY: Further Use of Diatonic Leaps RHYTHM: Simple and Compound Meters Chapter 9 - MELODY: Leaps within the Dominant Seventh Chord (V7); Other Diatonic Seventh Leaps RHYTHM: Simple and Compound Meters Part II Chapter 10 - RHYTHM: The Subdivision of the Beat: The Simple Beat into Four Parts,The Compound Beat into Six Parts Chapter 11 - MELODY: Leaps within the Tonic and Dominant Triads RHYTHM: Subdivision in Simple and Compound Meters Chapter 12 - MELODY: Further Use of Diatonic Leaps RHYTHM: Subdivision in Simple and Compound Meters Part III Chapter 13 - RHYTHM and MELODY: Syncopation Chapter 14 – RHYTHM and MELODY: Triplet Division of Undotted Note Values; Duplet Division of Dotted Note Values Chapter 15 – MELODY: Chromaticism (I): Chromatic Embellishing Tones; Tonicizing the Dominant; Modulation to the Key of the Dominant or the Relative Major Chapter 16 – MELODY: Chromaticism (II): Tonicization of Any Diatonic Triad; Modulation to Any Closely Related Key Chapter 17 – RHYTHM and MELODY: Changing Meter Signatures; The Hemiola; Less Common Meter Signatures Chapter 18 – RHYTHM and MELODY: Further Subdivision of the Beat; Notation in Slow Tempi Chapter 19 – MELODY: Chromaticism (II): Additional Uses of Chromatic Tones; Remote Modulation Part IV Chapter 20 – MELODY: The Diatonic Modes Chapter 21 – RHYTHM AND MELODY: The Twentieth and Twenty-First Centuries FULL TABLE OF CONTENTS: (R) indicates Rhythmic Reading exercises Part I MELODY: DIATONIC INTERVALS RHYTHM: DIVISION OF THE BEAT Chapter 1 – RHYTHM: Simple Meters; 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. Chapter 2 – MELODY: Stepwise Melodies, Major Keys RHYTHM: Simple Meters; The Beat and Its Division into Two Parts SIGHT SINGING 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. Chapter 3 – MELODY: Leaps within the Tonic Triad, Major Keys RHYTHM: Simple Meters Section 1. Major keys, treble clef, leaps of a third, fourth, fifth, and octave within the tonic triad. The quarter note as the beat unit. Section 2. Bass clef. Section 3. Leaps of a sixth within the tonic triad. 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. Chapter 4 – MELODY: Leaps within 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. Chapter 5 – MELODY: Minor Keys; Leaps within the Tonic Triad RHYTHM: Simple and Compound Meters Section 1. Simple meters. Section 2. Compound meters. Section 3. Duets. Section 4. Structured improvisation. Chapter 6 – MELODY: Leaps within the Dominant Triad (V); Major and Minor Keys RHYTHM: Simple and Compound Meters Section 1. Leaps of a third within the V triad; major keys; simple meters. Section 2. Leaps of a third within the V triad; minor keys; simple meters. Section 3. Leaps of a fourth and fifth within the V triad; major and minor keys; simple meters. Section 4. Leaps of a sixth within the V triad; simple meters. Section 5. Compound meters; various leaps within the V triad. Section 6. Numerator of 3, compound meters. Section 7. Duets. Section 8. Structured improvisation. Chapter 7 –THE C CLEFS: Alto and Tenor Clefs Section 1. The alto clef. Section 2. The tenor clef. Section 3. Duets. Section 4. Additional practice in the C clefs. Section 5. Structured improvisation. Chapter 8 – MELODY: Further Use of Diatonic Leaps RHYTHM: Simple and Compound Meters Section 1. Single-line melodies. Section 2. Bass lines. Section 3. Duets. Section 4. Structured improvisation. Chapter 9 – MELODY: Leaps within the Dominant Seventh Chord (V7); Other Diatonic Seventh Leaps RHYTHM: Simple and Compound Meters Section 1. The complete dominant seventh chord. Section 2. The leap of a minor seventh within the V7 chord. Section 3. The leap of a tritone within the V7 chord. Section 4. Other diatonic seventh leaps. Section 5. Structured improvisation. Part II MELODY: DIATONIC INTERVALS RHYTHM: SUBDIVISION OF THE BEAT Chapter 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. Preliminary exercises, compound meters. Section 5. Rhythmic reading exercises in compound meters. Section 6. Two-part drills, compound meters. Chapter 11 – MELODY: Leaps within the Tonic and Dominant Triads RHYTHM: Subdivision in Simple and Compound Meters Section 1. Single-line melodies and duets. Section 2. Structured improvisation. Chapter 12 – MELODY: Further Use of Diatonic Leaps RHYTHM: Subdivision in Simple and Compound Meters Section 1. Diatonic leaps except the seventh and tritone. Section 2. Leaps of a seventh or tritone within the V7 chord. Section 3. Other melodic dissonances. Section 4. Structured improvisation. Part III MELODY: CHROMATICISM RHYTHM: FURTHER RHYTHMIC PRACTICES Chapter 13- RHYTHM AND MELODY: Syncopation MELODY: RHYTHMIC READING Section 1 (R). Syncopation in simple meters at the beat or beat division level. Section 2 (R) Syncopation in compound meters at the beat or beat division level. Section 3 (R). Two-part drills. Section 4 (R). Syncopation at the beat subdivision level in simple meters. Section 5 (R). Syncopation at the beat subdivision level in compound meters. Section 6 (R). Two-part drills. SIGHT SINGING Section 7. Syncopation in simple meters at the beat or beat division level. Section 8. Syncopation in compound meters at the beat or beat division level. Section 9. Syncopation at the beat subdivision level in simple and compound meters. Section 10. Duets. Section 11. Structured improvisation. Chapter 14 – 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. Chapter 15 – MELODY: Chromaticism (I): Chromatic Embellishing Tones; Tonicizing the Dominant; Modulation to the Key of the Dominant or the Relative Major Section 1. Chromatic notes in the context of stepwise motion. Section 2. Chromatic notes approached or left by leap. Section 3. Tonicization of V in major keys. Section 4. Tonicization of III and modulation to the relative major from minor keys. Section 5. Modulation to the dominant from major and minor keys. Section 6. Duets. Section 7. Structured improvisation. Chapter 16 – MELODY: Chromaticism (II): Tonicization of Any Diatonic Triad; Modulation to Any Closely Related Key Section 1. Tonicization of any diatonic triad; modulation only to the dominant or relative major key. Section 2. Modulation to any closely related key. Section 3. Duets. Section 4. Structured improvisation. Chapter 17 – RHYTHM and MELODY: C hanging 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. Chapter 18 – RHYTHM and MELODY: Further Subdivision of the Beat; Notation in Slow Tempi Section 1 (R). Rhythmic reading. Section 2. Sight singing. Section 3. Structured improvisation. Chapter 19 – MELODY: Chromaticism (III): Additional Uses of Chromatic Tones; Remote Modulation Section 1. Chromatic tones in less common intervals. Section 2. The Neapolitan sixth. Section 3. Remote modulation. Section 4. Structured improvisation. Part IV THE DIATONIC MODES AND RECENT MUSIC Chapter 20 – MELODY: The Diatonic Modes Section 1. Folk music. Section 2. Composed music. Section 3. Structured improvisation. Chapter 21 – RHYTHM and MELODY: The Twentieth and Twenty-First Centuries Section 1 (R). Meter and rhythm. Rhythmic reading. Section 2. Extensions of the traditional tonal system. Section 3. Symmetrical collections; the whole-tone and octatonic scales. Section 4. Freely post-tonal melodies; twelve-tone melodies. Section 5. Duets. Section 6. Structured improvisation.

Music for Sight Singing is structured around organized melodiesdrawn from the literature of composed music and a wide range of the world’s folk music. Real music exercises allow readers to practice sight singing and develop their “mind’s ear” – the ability to imagine how music sounds without first playing it on an instrument. The ninth edition continues to introduce a host of important musical considerations beyond pitch and rhythm- including dynamics, accents, articulations, slurs, repeat signs, and tempo markings. The book’s arrangement of simple to complex exercises lays the foundations for success. This text is available in a variety of formats – digital and print. Pearson offers its titles on the devices students love through Pearson’s MyLab products, CourseSmart, Amazon, and more. To learn more about our programs, pricing options and customization, click the Choices tab