Holdings: Progressive sight singing

Progressive sight singing:

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Bibliographic Details
Main Author:	Krueger, Carol J. (Author)
Format:	Book
Language:	English
Published:	Oxford [u.a.] Oxford Univ. Press 2011
Edition:	2. ed.
Subjects:	Sight-singing A-prima-vista-Singen Gehörbildung Einführung
Online Access:	Inhaltsverzeichnis
Item Description:	Includes index
Physical Description:	XXVIII, 562 S. Ill., zahlr. Notenbeisp. CD-ROM (12 cm)

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MARC


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adam_text	Contents Preface for the Instructor xv Preface for the Student xix An Introduction to the Music Literacy Process xxi Strategies for Successful Sight Singing xxv Building Musicianship and Independence xxvii R 1 Simple Meter — Quarter Note = Beat Unit; Undivided Beat 3 1.1 Building Aural/Oral Skills 3 Beat, Tempo, Meter, Duple Meter, Triple Meter, Quadruple Meter, Rhythm 1.2 Symbolic Association 4 Score Notation, Whole Note/Rest, Half Note/Rest, Quarter Note/Rest, Meter Signature, Bar Lines, Double Bar Line 1.3 Rhythm Patterns 6 1.4 Exercises 7 Canon, Retrograde Canon, Anacrusis, Bracket 2 Simple Meter — Quarter Note = Beat Unit; Divided Beat 11 2.1 Building Aural/Oral Skills 11 Macro Beat, Micro Beat, Simple Meter, Compound Meter, Motives 1.2 Symbolic Association 12 Eighth Note/Rest, Head, Flag, Beam, Motive 2.3 Rhythm Patterns 13 2.4 Exercises 14 Common Time 3 Simple Meter — Quarter Note = Beat Unit; Slur, Tie, and Extension Dot 19 3.1 Building Aural/Oral Skills 19 3.2 Symbolic Association 19 Tie, Bind, Extension Dot/Augmentation Dot, Slur, Legato, Phrase 3.3 Rhythm Patterns 20 3.4 Exercises 21 4 Terms and Symbols 25 4.1 Symbolic Association: Performance Markings 25 Interruptions in the Beat: Breath Mark, Fermata, TenutOt Cäes ura, General Pause; Tempo Markings: Adagio, Andante, Moderato, Allegretto, Allegro, Metronome, M.M.; PROGRESSIVE SIGHT SINGING Changes in Tempo: Ritardando, Ritenuto, Accelerando, A Tempo, Poco, Poco a 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 29 5 Compound Meter — Dotted Quarter = Beat Unit; Divided Beats 34 5.1 Building Aural/Oral Skills 34 Simple Meter, Duple Simple, Triple Simple, Quadruple Simple, Compound Meter, Duple Compound, Triple Compound, Quadruple Compound 5.2 Symbolic Association 35 Compound Meter Signature, Motives 5.3 Rhythm Patterns 36 5.4 Exercises 37 6 Simple Meter — Quarter Note = Beat Unit; Borrowed Division 42 6.1 Building Aural/Oral Skills 42 Natural Division, Borrowed Division, Triplet, Duplet 6.2 Symbolic Association 42 Cross-Rhythms, Motives 6.3 Rhythm Patterns 43 6.4 Exercises 44 7 Simple Meter — Quarter Note = Beat Unit; Syncopation 49 7.1 Building Aural/Oral Skills 49 7.2 Symbolic Association 49 Syncopation, Dynamic Accent, Agogic Accent, Motives 7.3 Rhythm Patterns 51 7.4 Exercises 52 8 Simple Meter — Quarter Note = Beat Unit; Subdivided Beats 56 8.1 Building Aural/Oral Skills 56 Beat Subdivision 8.2 Symbolic Association 56 Cross-Rhythms, Motives, Duplet, Triplet, Quadruplet 8.3 Rhythm Patterns 58 8.4 Exercises 59 9 More Terms and Symbols 64 9.1 Symbolic Association: Performance Markings 64 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 67 CONTENTS - PART I ·-- ■- -...... ■■■■-■■,--..........·..,-■·. --.-^,,, ........,...,,...,.·. ■..... ■., vu 10 Simple Meter—Quarter Note = Beat Unit; More Rhythms with Borrowed Beat Division 72 10.1 Building Aural/Oral Skills 72 10.2 Symbolic Association 72 10.3 Rhythm Patterns 73 10.4 Exercises 74 11 Simple Meter—Quarter Note = Beat Unit; More Rhythms with Syncopations 79 11.1 Building Aural/Oral Skills 79 11.2 Symbolic Association 79 Single, Tied, Double and Triple Syncopation 11.3 Rhythm Patterns 80 11.4 Exercises 81 12 Simple Meter — Quarter Note = Beat Unit; More Rhythms with Subdivided Beats 86 12.1 Building Aural/Oral Skills 86 12.2 Symbolic Association 86 12.3 Rhythm Patterns 87 12.4 Exercises 88 13 Simple Meter—Half Note = Beat Unit 92 13.1 Symbolic Association 92 Alla Breve, Cut Time, Double Whole Note/Rest 13.2 Rhythm Patterns 93 13.3 Exercises 94 14 Simple Meter—Eighth Note = Beat Unit 100 14.1 Symbolic Association 100 14.2 Rhythm Patterns 101 14.3 Exercises 102 15 Compound Meter — Dotted Quarter = Beat Unit; More Rhythms 107 15.1 Building Aural/Oral Skills 107 15.2 Symbolic Association 107 Submetrical Syncopation 15.3 Rhythm Patterns 108 15.4 Exercises 109 16 Compound Meter—Dotted Half Note = Beat Unit 115 16.1 Symbolic Association 115 16.2 Rhythm Patterns 116 16.3 Exercises 116 17 Compound Meter — Dotted Eighth Note = Beat Unit 121 17.1 Symbolic Association 121 17.2 Rhythm Patterns 122 17.3 Exercises 122 PROGRESSIVE SIGHT SINGING 6 Natural Minor Scale; Simple Meters, Eighth and Dotted Quarter Notes 226 6.1 Building Aural/Oral Skills: Natural Minor Scale 226 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 228 6.3 Tonal and Melodic Patterns: Natural Minor Scale 230 6.4 Exercises: Natural Minor Scale 231 7 Harmonic and Melodic Minor Scales; Simple Meters, Eighth and Dotted Quarter Notes 235 7.1 Building Aural/Oral Skills: Harmonic Minor Scale 235 Harmonic Minor Scale, Augmented Second, Harmonic Minor Pentachord, 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 237 Accidental, Sharp Sign, Natural Sign, Augmented Triad 7.3 Tonal and Melodic Patterns: Harmonic Minor Scale 239 7.4 Exercises: Harmonic Minor Scale 240 7.5 Building Aural/Oral Skills: Melodic Minor Scale 243 Melodic Minor Scale, Melodic Minor Pentachord, Intervals from Tonic; Major and Minor Thirds, Perfect and Augmented Fourths 7.6 Symbolic Association: Melodic Minor Scale 245 7.7 Tonal and Melodic Patterns: Melodic Minor Scale 247 7.8 Exercises: Melodic Minor Scale 248 7.9 Exercises: Intervals in Tonic Triad (i) and Mediant Major Triad (III)/Relative Major 250 8 Major and Minor Modes; Compound Meters — Dotted Quarter = Beat Unit 252 8.1 Integrating Rhythm and Tonal Skills: Major Mode 252 8.2 Symbolic Association: Major Mode 253 8.3 Melodic Patterns: Major Mode 254 8.4 Exercises: Major Mode 255 8.5 Integrating Rhythm and Tonal Skills: Minor Mode 260 8.6 Symbolic Association: Minor Mode 261 8.7 Melodic Patterns: Minor Mode 263 8.8 Exercises: Minor Mode 264 8.9 Exercises: Intervals in Tonic Triad (i) and the Mediant Triad (III)/Relative Major 269 9 I and V7 in Major Mode; Simple and Compound Meters 270 9.1 Building Aural/Oral Skills: Dominant Triad, Major Mode 270 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 271 Chord Tone, Neighbor Tone, Passing Tone, Terminal Cadence, Progressive Cadence, Authentic Cadence, Half Cadence 9.3 Tonal Patterns: Dominant Triad, Major Mode 272 9.4 Exercises: Dominant Triad, Major Mode, Simple Meters 274 9.5 Building Aural/Oral Skills: Dominant Seventh Chord, Major Mode 278 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 280 9.7 Tonal Patterns: Dominant Seventh Chord, Major Mode 281 9.8 Exercises: Pominant Seventh Chord, Major Mode, Simple Meters 282 9.9 Exercises: Dominant and Dominant Seventh, Major Mode, Compound Meters 288 CONTENTS - PART II 10 і and V7 in Minor Mode; Simple and Compound Meters 294 10.1 Building Aural/Oral Skills: Dominant Triad, Minor Mode 294 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 295 10.3 Tonal Patterns: Dominant Triad, Minor Mode 296 10.4 Exercises: Dominant Triad, Minor Mode, Simple Meters 298 10.5 Building Aural/Oral Skills: Dominant Seventh Chord, Minor Mode 303 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 304 10.7 Tonal Patterns: Dominant Seventh Chord, Minor Mode 306 10.8 Exercises: Dominant Seventh Chord, Minor Mode, Simple Meters 307 10.9 Exercises: Dominant and Dominant Seventh, Minor Mode, Compound Meters 314 11 I and V7 in Major Mode; Other Rhythms in Simple Meters 318 11.1 Integrating Rhythm and Tonal Skills: Major Mode 318 Chromatic Intervals 11.2 Symbolic Association 319 11.3 Melodic Patterns and Exercises: Triplets, Tonic Only 320 11.4 Melodic Patterns and Exercises: Syncopation, Tonic Only 323 11.5 Melodic Patterns and Exercises: Subdivided Beat, Tonic Only 326 11.6 Exercises: Combined Rhythms, Tonic Only 330 11.7 Exercises: Combined Rhythms, Tonic and Dominant 333 12 і and V7 in Minor Mode; Other Rhythms in Simple Meters 338 12.1 Integrating Rhythm and Tonal Skills: Minor Mode 338 12.2 Symbolic Association 339 12.3 Melodic Patterns and Exercises: Triplets, Tonic Only 340 12.4 Melodic Patterns and Exercises: Syncopation, Tonic Only 342 12.5 Melodic Patterns and Exercises: Subdivided Beat, Tonic Only 344 12.6 Exercises: Combined Rhythms, Tonic Only 347 12.7 Exercises: Combined Rhythms, Tonic and Dominant 349 13 I and V7 in Major and Minor Modes; Half Note = Beat Unit 354 13.1 Integrating Rhythm and Tonal Skills: Major and Minor Modes 354 13.2 Symbolic Association 355 13.3 Melodic Patterns and Exercises: Major Mode, Tonic Only 355 13.4 Exercises: Major Mode, Tonic and Dominant 359 13.5 Melodic Patterns and Exercises: Minor Mode, Tonic Only 362 13.6 Exercises: Minor Mode, Tonic and Dominant 364 14 I and V7 in Major and Minor Modes; Eighth Note = Beat Unit 368 14.1 Integrating Rhythm and Tonal Skills: Major and Minor Modes 368 Ascending and Descending Chromatic Intervals Moving Out from Tonic 14.2 Symbolic Association 369 14.3 Melodic Patterns and Exercises: Major Mode, Tonic Only 369 14.4 Exercises: Major Mode, Tonic and Dominant 372 xii PROGRESSIVE SIGHT SINGING 14.5 Melodic Patterns and Exercises: Minor Mode, Tonic Only 375 14.6 Exercises: Minor Mode, Tonic and Dominant 377 15 I and V7 in Major and Minor; Compound Meters — More Rhythms 379 15.1 Integrating Rhythm and Tonal Skills: Major and Minor Modes 379 Major, Minor, Augmented and Diminished Triads 15.2 Symbolic Association 380 15.3 Melodic Patterns and Exercises: Major Mode, Tonic Only 381 15.4 Exercises: Major Mode, Tonic and Dominant 387 15.5 Melodic Patterns and Exercises: Minor Mode, Tonic Only 392 15.6 Exercises: Minor Mode, Tonic and Dominant 395 16 The Moveable С Clefs 399 16.1 Symbolic Association 399 С Clefs: Soprano, Mezzo-Soprano, Alto, Tenor, Baritone 16.2 Exercises: Major and Minor Modes, Tonic and Dominant 400 17 I, IV and V7 in Major Mode; Simple and Compound Meters 408 17.1 Building Aural/Oral Skills: Subdominant Triad, Major Mode 408 Subdominant Triad in Major 17.2 Symbolic Association 409 17.3 Tonal Patterns: Subdominant Triad, Major Mode 410 17.4 Exercises: I, IV, V7 , Major Mode, Simple Meters 411 17.5 Exercises: I, IV, V7 , Major Mode, Compound Meters 430 18 i, iv and V7 in Minor Mode; Simple and Compound Meters 436 18.1 Building Aural/Oral Skills: Subdominant Triad, Minor Mode 436 Subdominant Triad in Minor 1 S.2 Symbolic Association 437 18.3 Tonal Patterns: Subdominant Triad, Minor Mode 438 18.4 Exercises: i, iv, IV, and V7, Minor Mode, Simple Meters 439 18.5 Exercises: i, iv, IV, and V7 , Minor Mode, Compound Meters 448 19 Other Diatonic Triads and Seventh Chords in Major and Minor Modes 451 19.1 Building Aural/Oral Skills: Diatonic Triads and Seventh Chords in Major Mode 451 Diatonic Seventh Chords, Major Seventh Chord, Minor Seventh Chord, Major-Minor Seventh Chord, Fully Diminished Seventh Chord, Half Diminished Seventh Chord 19.2 Symbolic Association 452 19.3 Tonal Patterns: ii, iii, vi, vii°, Major Mode 452 19.4 Exercises: ii, iii, vi, vii°, Major Mode 453 19.5 Building Aural/Oral Skills: Diatonic Triads and Seventh Chords in Minor Mode 462 Diatonic Seventh Chords in Minor Mode 19.6 Symbolic Association 462 19.7 Tonal Patterns: ii°, III, VI, VII, Minor Mode 463 19.8 Exercises: ii°, III, VI, VII, Minor Mode 464 CONTENTS - PART II ■·«-■.-—.....->--—..-— ,-■-.,.■-— ■.·.. ,..--. .-■·■■ ■■■..· ■ ял 20 Chromatic Alterations: Nonharmonic Tones 469 20.1 Building Aural/Oral Skills 469 Chromaticism, Nonharmonic Tones, Neighbor Tones, Passing Tones, Appoggiaturas, Escape Tones, Incomplete Neighbors 20.2 Symbolic Association 469 20.3 Tonal Patterns 470 Major Mode: T4, 4.7, Ti, Î2, Î3 Minor Mode: T4, T3 20.4 Exercises 471 21 Chromatic Alterations: Secondary Dominants 481 21.1 Building Aural/Oral Skills 481 Commonly Altered Chords 21.2 Symbolic Association 482 Tonicization, Secondary Dominants 21.3 Tonal Patterns and Exercises: Raised Fourth Scale Degree, Major Mode 482 21.4 Tonal Patterns and Exercises: Raised Fourth Scale Degree, Minor Mode 485 21.5 Tonal Patterns and Exercises: Lowered Seventh Scale Degree, Major Mode 487 21.6 Tonal Patterns and Exercises: Raised Tonic, Major Mode 489 21.7 Tonal Patterns and Exercises: Raised Second Scale Degree, Major Mode 492 21.8 Tonal Patterns and Exercises: Raised Third Scale Degree, Minor Mode 493 21.9 Exercises: Secondary Dominants and Nonharmonic Tones 494 22 Chromatic Alterations: Modulation 498 22.1 Symbolic Association 498 Modulation, Closely Related Keys, Change of Mode, Distantly Related Keys, Neapolitan Triad 22.2 Exercises: Modulation to the Dominant 499 22.3 Exercises: Modulation to Closely Related Keys 505 22.4 Exercises: Modulation to Remote Keys 513 23 Chromatic Alterations: Modal Mixture and Neapolitan Sixth 516 23.1 Building Aural/Oral Skills 516 Modal Mixture, Parallel Scales, Neapolitan Triad 23.2 Symbolic Association 517 Change of Mode 23.3 Tonal Patterns: Modal Mixture 517 23.4 Exercises: Modal Mixture 518 23.5 Exercises: Neapolitan Triad 520 24 Modes 524 24.1 Symbolic Association: Diatonic Seven-Tone Scales 524 Medieval Modes, Church Modes, Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian, Classification of Modes 24.2 Exercises 526
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spelling	Krueger, Carol J. Verfasser aut Progressive sight singing Carol Krueger 2. ed. Oxford [u.a.] Oxford Univ. Press 2011 XXVIII, 562 S. Ill., zahlr. Notenbeisp. CD-ROM (12 cm) txt rdacontent n rdamedia nc rdacarrier Includes index Sight-singing A-prima-vista-Singen (DE-588)4142827-4 gnd rswk-swf Gehörbildung (DE-588)4156331-1 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content A-prima-vista-Singen (DE-588)4142827-4 s Gehörbildung (DE-588)4156331-1 s DE-604 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020539110&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis
spellingShingle	Krueger, Carol J. Progressive sight singing Sight-singing A-prima-vista-Singen (DE-588)4142827-4 gnd Gehörbildung (DE-588)4156331-1 gnd
subject_GND	(DE-588)4142827-4 (DE-588)4156331-1 (DE-588)4151278-9
title	Progressive sight singing
title_auth	Progressive sight singing
title_exact_search	Progressive sight singing
title_full	Progressive sight singing Carol Krueger
title_fullStr	Progressive sight singing Carol Krueger
title_full_unstemmed	Progressive sight singing Carol Krueger
title_short	Progressive sight singing
title_sort	progressive sight singing
topic	Sight-singing A-prima-vista-Singen (DE-588)4142827-4 gnd Gehörbildung (DE-588)4156331-1 gnd
topic_facet	Sight-singing A-prima-vista-Singen Gehörbildung Einführung
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