This preview shows pages 1–2. Sign up to view the full content.
This preview has intentionally blurred sections. Sign up to view the full version.View Full Document
Unformatted text preview: - Strategies for Successful Sight Singing 1. Examine and analyze all musical elements prior to reading.
Pitch 3.. Determine the key. Does the melody begin on the tonic or another pitch? b. Scan the melody and locate all reference tones (1st, 3rd, and 5th scale degrees); if nec—
essary circle them. Remember to relate all of the other pitches to these reference tones. c. Scan the melody again for skips and determine the interval and tonal syllables. d. What tonal pattern is in the first measure the sixth measure? Are there any repeated
patterns, motives, sequences, or pitches? What is the tonal syllable of the aCcidental? Rhythm a. Determine the tempo (speed of beat) and the meter (simple or compound). What is the
beat unit the beat division the beat subdivision? b. Scan the line for rhythm patterns. What rhythm pattern is in the third measure the
fifth measure ... the last measure? Are there any repeated patterns? Is that a tie or a slur? Pbmm a. Phrases have been marked in some of the exercises to serve as a guide for breathing. In
exercises without phrase markings, determine and mark appropriate places to breathe.
b. Analyze phrase structure and cadence types. Harmony a. Analyze the underlying harmonies implied by the melodic line. Look for chord tones
and nonharmonic tones.
b. Train the eye to look for musical markings: dynamic, expression, and articulation. Do not move from the inquiry period to the reading until all the concepts have been
reviewed. 2. Always establish tonalin prior to reading. a. Play the tonic note of the key on the piano or a pitch pipe. Sing the scale of the key and
the tonic chord arpeggio that fits the range of the melody. If necessary, transpose the
melody into a key that provides a more comfortable range. Transposition will not pre-
sent a problem for students using the Moveable Do method. b. Find and sing the first note of the melody. 3. Prepare and condition the ear, body, and mind prior to reading. a. Sing vocal-pitch exercises that use the pitch skill(s) found in the exercise.
b. Sing a scale or other vocal—pitch exercises integrating the rhythm patterns found in
the exercise. For example, sing the scale using a dotted quarter-eighth pattern. 4. Always establish meter prior to reading. a. Set a tempo that is appropriate for your current skill level. b. Establish an internal feeling of the pulse by walking in place, silently tapping the beat
using large arm movements or conducring for one to two measures before reading.
Occasionally use a metronome. xxiii xxiv Tonal Only Melody Rhythm Only C. PROGRESSIVE SIGHT SINGING Feel the division of the beat (down-up principle). Focus on the rhythm patterns in rela— tion to the micro and macro beat. The beat should always 3 inaudible. 3. Silently read the exercise (audiation). Prior to reading, silently read the exercise, preferably using hand signs, tapping the beat,
or conducting. 6. Sing all exercises a cappella.
To achieve independence, all exercises should be sung without accompaniment. 7. Perform exercises from beginning to end. a. Do not stop to correct pitches or rhythms. Always keep a steady beat!
b. After the initial reading, return and drill the trouble spots.
c. If necessary chant only the rhythm and then sing only the pitches. Do not sing
repeated noresfone note per beat.
D19“ ._..._._l . n._. t I " 1L1 r—L—‘ a 0 |T_'-_,:|3_EI $3“? 4TH 55% W%’ Leaf-T4 $5 @UEEFCF ....J _l _JL...J' 8. Sing phrases as a musical entity rather than a series of individual notes. Look ahead. The farther ahead one reads the more accurate, ﬂuent, and musical one’s sight
singing will be. 9. Do not write the tonal or rhythm syllables in the music. Tonal and rhythm syllables should never be spelled out and read as symbols. 10. After accurately singing an exercise on tonal syllables, repeat the exercise: a. b. at a faster tempo; silently singing the even~numbered measures, or all the eighth notes, or all the mi's,
or the second phrase; singing aloud until given an appropriate signal, at which time reading should be silent
(audiation). After another appropriate signal, resume singing aloud; or . on a neutral syllable, using hand signs, tapping the beat, or conducting. Symbolic sys- tems should be discarded when one has developed the ability to recall the pitch andi'or
duration relationship. Skill follows drill. Skills can be mastered only by consistent practice. Brief, but frequent, practice sessions are more beneﬁcial
than occasional marathon sessions. Practice with a partner. ...
View Full Document
This note was uploaded on 04/09/2011 for the course MUSIC STUD 1712 taught by Professor Johnson during the Spring '10 term at Temple.
- Spring '10