Fresh on the market, this interactive book helps those musically inclined develop their acumen in sight singing. Organizing each chapter around one musical problem and one rhythmic problem, it contains traditional sight singing materials as well as exercises for composition and analysis, improvisation, and transportation. Beginning with an extensive foreword by an acknowledged expert in the field of music theory pedagogy and aural skills, the book explains how to hear patterns in relation to a tonal center - or, in atonal patterns, how to relate the acquired knowledge from tonal studies to patterns that do not revolve around a tonal center. It presents hundreds of melodies alongside representative works from music literature which are divided in two categories: 1) pedagogically effective tunes that focus on a single problem and include sufficient repetition to insure user mastery, and; 2) melodies spanning the entire range of music literature from the Renaissance to the present day and representing problems in the context of major works of art. It provides warm-up activities that allow users to focus on one problem at a time (i.e., common rhythmic patterns without melodic complications, or pitch patterns without changing rhythms), and offers a variety of ensembles, both newly-composed and from the literature. It also includes an extensive glossary of foreign musical terms and symbols. For musicians, composers, and others in the field of music.
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From the Publisher
Fresh on the market, this interactive text helps beginning music majors develop their acumen in sight singing. Organizing each chapter of this creative workbook around one musical problem and one rhythmic problem, it contains traditional sight singing materials as well as exercises for composition and analysis, improvisation, and transportation.
From the Back Cover
Fresh on the market, this interactive book helps those musically inclined develop their acumen in sight singing. Organizing each chapter around one musical problem and one rhythmic problem, it contains traditional sight singing materials as well as exercises for composition and analysis, improvisation, and transportation. Beginning with an extensive foreword by an acknowledged expert in the field of music theory pedagogy and aural skills, the book explains how to hear patterns in relation to a tonal center - or, in atonal patterns, how to relate the acquired knowledge from tonal studies to patterns that do not revolve around a tonal center. It presents hundreds of melodies alongside representative works from music literature which are divided in two categories: 1) pedagogically effective tunes that focus on a single problem and include sufficient repetition to insure user mastery, and; 2) melodies spanning the entire range of music literature from the Renaissance to the present day and representing problems in the context of major works of art. It provides warm-up activities that allow users to focus on one problem at a time (i.e., common rhythmic patterns without melodic complications, or pitch patterns without changing rhythms), and offers a variety of ensembles, both newly-composed and from the literature. It also includes an extensive glossary of foreign musical terms and symbols. For musicians, composers, and others in the field of music.
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4 of 6 people found the following review helpful:
1.0 out of 5 stars
Over priced for no help at all,
By A Customer
This review is from: Sight Singing (Paperback)
I am required to use this book at the college level musicianship stage, and I find it to be poorly organized full of poorly chosen repertoire, at uneven, unpredictable difficulty levels! If the author's desired effect was to confuse and decrease one's sightsinging abilities then he might possibly have succeeded
4 of 6 people found the following review helpful:
1.0 out of 5 stars
WHAT IS THIS?,
By A Customer
This review is from: Sight Singing (Paperback)
In high school AP Theory we used a sight singing book that was blue and I think, unfortuantely, is out of print now. IT made sense in the order and build of things, however. This book not only makes no sense organizationally speaking, but it leaves much to be desired in the musical line choices and radically varying difficulty levels. I used this in college and found it not helpful at all
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