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INSTRUCTOR’S DICTATIONMANUALMANUALf o rEAR TRAININGa n dSIGHT SINGING
INSTRUCTOR’S DICTATIONMANUALto accompany theMANUALf o rEAR TRAININGa n dSIGHT SINGINGSECOND EDITIONGary S. KarpinskiBW . W . N O R T O NN E W Y O R KL O N D O N
W. W. Norton & Company has been independent since its founding in 1923,when William Warder Norton and Margaret D. Herter Norton first publishedlectures delivered at the People’s Institute, the adult education division ofNew York City’s Cooper Union. The Nortons soon expanded their programbeyond the Institute, publishing books by celebrated academics from Americaand abroad. By mid-century, the two major pillars of Norton’s publishingprogram—trade books and college texts—were firmly established.In the1950s, the Norton family transferred control of the company to its employees,and today—with a staff of 400 and a comparable number of trade, college,and professional titles published each year—W. W. Norton & Company standsas the largest and oldest publishing house owned wholly by its employees.Copyright © 2017, 2007 by W. W. Norton & Company, Inc.All rights reservedSecond EditionProduction Manager: Sean MintusComposition: JouveW. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110wwnorton.comW. W. Norton & Company Ltd, 15 Carlisle Street, London W1D 3BS
CONTENTSPrefaceixCHAPTER1The Fundamentals of Meter andRhythm1CHAPTER2The Fundamentals of Pitch5CHAPTER3Combining Pitches with Meter and Rhythm7CHAPTER4Error Detection and Correction10CHAPTER5More about Meter and Rhythm13CHAPTER6More about Pitch16CHAPTER7Notating Rhythm and Meter17CHAPTER8Notating Pitches20CHAPTER9Combining Rhythm and Pitch Notation23CHAPTER10Dictation in Longer Contexts26CHAPTER11The Fifteen Major Keys28CHAPTER12Ties and the Dotted Beat31CHAPTER13More about Intervals: Number and Quality33CHAPTER14Skips toˆ7 andˆ2 as Prefix Neighbors34CHAPTER15Tempo36CHAPTER16Compound Meters37CHAPTER17Introduction to the Minor Mode: Diatonic Minor throughRelative and Parallel Approaches40CHAPTER18Lower Chromatic Neighbors42CHAPTER19More about the Minor Mode:Chromaticˆ6 andˆ7 through Modal Borrowing44CHAPTER20Triplets and Duplets46CHAPTER21Introduction to Transcription49CHAPTER22Quadruple Division of the Beat in Simple Meters52CHAPTER23Conducting Pulse LevelsOther Than the Notated Beat54CHAPTER24Performance Indications55CHAPTER25The Dominant Triad; Skips toˆ5,ˆ7, andˆ257CHAPTER26The Modern C-Clefs: Alto and Tenor Clefs59CHAPTER27Skips toˆ4 andˆ6 as Prefix Neighbors61CHAPTER28Pentatonicism63v
CHAPTER29Sextuple Division of the Beat in Compound Meters67CHAPTER30Repeat Signs70CHAPTER31The Subdominant Triad; Skips toˆ4,ˆ6, andˆ171CHAPTER32Syncopation73CHAPTER33The Dominant Seventh Chord inMelodic Contexts; Skips toˆ5,ˆ7,ˆ2, andˆ475CHAPTER34Introduction to Harmonic Singing77CHAPTER35Introduction to Harmonic Listening:Harmonic Rhythm and Cadences78CHAPTER36Two-Part Music94CHAPTER37Introduction to Bass-Line Dictation97CHAPTER38Root Position and First Inversion Triads100CHAPTER39Introduction to Voice Leading; Compound Melody104CHAPTER40Triad Qualities107CHAPTER41The Leading-Tone Triad; Skips toˆ7,ˆ2, andˆ4108CHAPTER42The Supertonic Triad; Skips toˆ2,ˆ4, andˆ6111CHAPTER43The Submediant Triad; Skips toˆ6,ˆ1, andˆ3115CHAPTER44The Mediant Triad; Skips toˆ3,ˆ5, andˆ7119CHAPTER45The Dominant Seventh Chord in Harmonic Contexts123CHAPTER46Voice-Leading Techniques127CHAPTER47Six-Four Figures132CHAPTER48Other Seventh Chords

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Term
Spring
Professor
Nobile,D
Tags
Rhythm, Musical notation

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