000			13764nam a22001697a 4500
005			20250630131907.0
008			250630b |||||||| |||| 00| 0 eng d
020			_a978-0-07-352665-2
082			_223 _a783.0423 _bCAR
100			_aCarr Maureen
245			_aSight Singing Complete :/ _cMaureen Carr & Bruce Bevward
250			_a8th ed.
260			_aNew York: _bMcGraw Hill Education, _c2015.
300			_aiii, 338 p. : ill. ; _bSpiral Bound _c22x27.5 cm
505			_aUNIT ONE A Rhythm—Simple Meter: One-, Two-, Three-, and Four-Beat Values and Duple Division of the Beat 1 SECTION 1. Modules in Simple Meter 1 SECTION 2. Phrases in Simple Meter 3 SECTION 3. Creating a Coherent Phrase in Simple Meter B Diatonic Models and Melodic Fragments: M2 and m2 SECTION SECTION SECTION SECTION C D 4 1. 2. 3. 4. 4 Diatonic Models 4 Melodic Fragments in F Major 6 Creating a Coherent Melody 7 Improvisation 7 Melodies by Bruce Benward (Major): M2 and m2 Melodies 11 8 SECTION 1. Melodies by Bruce Benward (Major): P5, P4, M3, and m3 within the Tonic Triad and M2 and m2 11 SECTION 2. Russian Folksongs: P5, P4, M3, m3, M2, and m2 within the Diatonic Scale E Ensembles and Play + Sing 12 15 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 16 SECTION 3. Play + Sing 17 15 U N I T T WO A Rhythm—Compound Meter 18 SECTION 1. Modules in Compound Meter 18 SECTION 2. Phrases in Compound Meter 19 SECTION 3. Creating a Coherent Phrase in Compound Meter B Diatonic Models and Melodic Fragments: P5, P4, M3, m3, M2, and m2 SECTION SECTION SECTION SECTION C 21 1. 2. 3. 4. Diatonic Models 22 Melodic Fragments in G Major and G Minor Creating a Coherent Melody 24 Improvisation 24 22 23 Melodies (Major): P5, P4, M3, and m3 within the Tonic Triad and M2, and m2 25 iii D Melodies (Major): P5, P4, M3, m3, M2, and m2 within the Diatonic Scale SECTION 1. Excerpts from Beethoven and Haydn SECTION 2. Scottish Tunes 29 E Ensembles and Play + Sing 26 26 33 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 35 SECTION 3. Play + Sing 36 33 UNIT THREE A Rhythm—Simple Meter: Further Duple Division of the Beat 37 SECTION 1. Modules in Simple Meter 37 SECTION 2. Phrases in Simple Meter with Duple Division of the Beat SECTION 3. Creating a Coherent Phrase in Simple Meter 39 B Diatonic Models and Melodic Fragments: P8, P5, P4, M3, m3, M2, and m2 SECTION SECTION SECTION SECTION C 1. 2. 3. 4. Diatonic Models 39 Melodic Fragments in D Major and D Minor Creating a Coherent Melody 42 Improvisation 42 Melodies (Minor): Mostly by Bruce Benward SECTION SECTION SECTION SECTION E 1. 2. 3. 4. 44 46 P5, P4, M3, and m3 within the Tonic Triad 46 Natural, Harmonic, and Melodic Minor 46 P5, P4, M3, and m3 within the Tonic Triad and M2 and m2 Transposition and Inversion 48 Ensembles and Play + Sing 47 50 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 50 SECTION 3. Play + Sing 51 50 UNIT FOUR A Rhythm—Simple Meter: Quadruple Subdivision of the Beat SECTION 1. Modules in Simple Meter 53 SECTION 2. Phrases in Simple Meter 54 SECTION 3. Creating a Coherent Phrase in Simple Meter B C 53 56 Diatonic Models and Melodic Fragments: m10, P8, P5, P4, M3, m3, M2, and m2 57 SECTION SECTION SECTION SECTION 1. 2. 3. 4. Diatonic Models 57 Melodic Fragments in A Major and A Minor Creating a Coherent Melody 59 Improvisation 59 58 Melodies (Major and Minor): P5, P4, M3, m3, M2, and m2 60 SECTION 1. Jamaican Songs, a Ceremonial Dance and a Stravinsky Source SECTION 2. Hebrew Songs 62 iv Contents 39 40 Melodies (Major): P5, P4, M3, m3, M2, and m2 within the Diatonic Scale SECTION 1. Melodies by Bruce Benward 43 SECTION 2. Melodies from Folk Sources and Stravinsky D 38 61 43 D Melodies (Major and Minor): P5, P4, M3, m3, M2, and m2 SECTION 1. Songs by Schubert 64 SECTION 2. Exercises in Clef Reading and Transposition E Ensembles and Play + Sing 64 67 68 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 70 SECTION 3. Play + Sing 73 68 UNIT FIVE A Rhythm—Simple Meter with Triplets 75 SECTION 1. Modules in Simple Meter 75 SECTION 2. Phrases in Simple Meter with Irregular Division of the Beat (the Triplet) SECTION 3. Creating a Coherent Phrase in Simple Meter with Triplets 77 B Diatonic Models and Melodic Fragments: M6 and m6 SECTION SECTION SECTION SECTION C D E 1. 2. 3. 4. Diatonic Models 78 Melodic Fragments in F Major and D Minor Creating a Coherent Melody 81 Improvisation 81 Melodies (Major and Minor): M6 and m6 Melodies (Major and Minor): M6 and m6 Ensembles and Play + Sing 88 76 78 79 82 84 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 91 SECTION 3. Play + Sing 93 88 UNIT SIX A Rhythm—Simple Meter: Further Subdivision of the Beat in Simple Meter SECTION 1. Modules in Simple Meter 96 SECTION 2. Phrases in Simple Meter 97 SECTION 3. Creating a Coherent Phrase in Simple Meter B Diatonic Models and Melodic Fragments: M6 and m6 SECTION SECTION SECTION SECTION C D 1. 2. 3. 4. Diatonic Models 100 Melodic Fragments in B Major and B Minor Creating a Coherent Melody 102 Improvisation 102 Melodies (Major and Minor): M6 and m6 Melodies (Major and Minor): M6 and m6 96 99 100 101 103 106 SECTION 1. Robert Schumann 106 SECTION 2. From Bach to Barber 108 E Ensembles and Play + Sing 110 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 113 SECTION 3. Play + Sing 115 110 Contents v UNIT SEVEN A Rhythm—Hemiola 117 SECTION 1. Modules Using Hemiola 117 SECTION 2. Phrases in Simple Meter Using Hemiola 118 SECTION 3. Creating a Coherent Phrase in Simple Meter 119 B Diatonic Models and Melodic Fragments: m7 SECTION SECTION SECTION SECTION C 1. 2. 3. 4. 119 Diatonic Models 119 Melodic Fragments in E Major 120 Creating a Coherent Melody 121 Improvisation 121 Melodies (Major and Minor): M6 and m6 122 SECTION 1. Melodies from Songs and Instrumental Works by Beethoven SECTION 2. Short Melodies by Bruce Benward 124 D E Melodies (Major and Minor): M6 and m6 Ensembles and Play + Sing 127 122 125 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 129 SECTION 3. Play + Sing 130 127 UNIT EIGHT A Rhythm—Simple Meter: The Supertriplet 132 SECTION 1. Modules in Simple Meter 132 SECTION 2. Phrases in Simple Meter with Supertriplets 133 SECTION 3. Creating a Coherent Phrase in Simple Meter with Supertriplets B Diatonic Models and Melodic Fragments: m7 and M7 SECTION SECTION SECTION SECTION C 1. 2. 3. 4. Diatonic Models 135 Melodic Fragments in C Minor and E Major Creating a Coherent Melody 138 Improvisation 138 Melodies (Major and Minor): m7 135 136 139 SECTION 1. Melodies from Operas by Verdi, Puccini, Handel, and Pergolesi SECTION 2. Excerpts from Cantatas Written by J. S. Bach 141 D Melodies (Major and Minor): m7 142 SECTION 1. Folk Songs and Instrumental Works E Ensembles and Play + Sing 142 145 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 147 SECTION 3. Play + Sing 148 145 UNIT NINE A Rhythm—Further Subdivisions of the Beat in Compound Meter and 3 against 2 151 SECTION 1. Modules in Compound Meter 151 SECTION 2. Phrases with Triplets and 3 against 2 152 SECTION 3. Creating a Coherent Phrase in Compound Meter vi Contents 134 153 139 B Diatonic Models and Melodic Fragments: A4 and d5 SECTION SECTION SECTION SECTION C D 1. 2. 3. 4. 155 Melodies (Major): Chromatic Alterations, Modulating, and Nonmodulating Melodies (Major): Chromatic Alterations, Modulating, and Nonmodulating SECTION 1. Mozart Songs 160 SECTION 2. Melodies from Operas by Rameau E 154 Diatonic Models 154 Melodic Fragments in E Major and E Minor Creating a Coherent Melody 157 Improvisation 157 Ensembles and Play + Sing 159 160 164 168 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 170 SECTION 3. Play + Sing 172 168 UNIT TEN A Rhythm—Changing Meter with Triplets and Aligned and Displaced Hemiolas 175 SECTION 1. Modules 175 SECTION 2. Phrases Using Aligned and Displaced Hemiolas 176 SECTION 3. Creating a Coherent Phrase in Simple Meter 177 B Diatonic and Chromatic Models and Melodic Fragments: A4 and d5 SECTION SECTION SECTION SECTION C D E 1. 2. 3. 4. Diatonic and Chromatic Models 177 Melodic Fragments in E Major and E Minor Creating a Coherent Melody 180 Improvisation 180 Melodies with Chromatic Alterations Melodies with Chromatic Alterations Ensembles and Play + Sing 188 177 179 182 185 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 190 SECTION 3. Play + Sing 190 188 UNIT ELEVEN A Rhythm—Subdivisions of the Beat into Eight Parts SECTION 1. Modules 192 SECTION 2. Phrases 193 SECTION 3. Creating a Coherent Phrase B 194 Diatonic and Chromatic Models and Melodic Fragments: d7 and A2 SECTION SECTION SECTION SECTION C D 192 1. 2. 3. 4. Melodies with Modal Characteristics More Melodies 204 200 SECTION 1. Sacred Melodies with Modal Characteristics SECTION 2. Songs by Brahms 207 E 195 Diatonic and Chromatic Models 195 Melodic Fragments in C Minor 196 Creating a Coherent Melody 199 Improvisation 199 Ensembles and Play + Sing 204 209 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 214 SECTION 3. Play + Sing 215 209 Contents vii U N I T T W E LV E A Rhythm—The Quartolet 217 SECTION 1. Modules 217 SECTION 2. Phrases 218 SECTION 3. Creating a Coherent Phrase B Chromatic Models and Melodic Fragments: A6 and d3 SECTION SECTION SECTION SECTION C D 219 1. 2. 3. 4. Chromatic Models 220 Melodic Fragments in C Minor and C Major Creating a Coherent Melody 224 Improvisation 224 Melodies with Modal Characteristics Melodies 231 Ensembles and Play + Sing 220 225 SECTION 1. Melodies by Schubert 231 SECTION 2. Clef Reading and Transposition E 220 234 237 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 243 SECTION 3. Play + Sing 244 237 UNIT THIRTEEN A Rhythm— Further Subdivisions of the Beat: 4 against 3 SECTION 1. Models 245 SECTION 2. Duets 246 SECTION 3. Creating a Coherent Duet in 4 against 3 B 247 Diatonic and Chromatic Models and Melodic Fragments: d4 SECTION SECTION SECTION SECTION C 245 1. 2. 3. 4. Diatonic and Chromatic Models 248 Melodic Fragments in A Major and F Minor Creating a Coherent Melody 250 Improvisation 251 Melodies Related to Jazz 248 249 251 SECTION 1. The Blues Repertoire 251 SECTION 2. Vocalise by Alex Wilder 254 D E Melodies by Duke Ellington Ensembles and Play + Sing 255 258 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 260 SECTION 3. Play + Sing 262 258 UNIT FOURTEEN A Rhythm—Irregular or Additive Meter 265 SECTION 1. Phrases in Irregular or Additive Meter 265 SECTION 2. Duets in Irregular or Additive Meter 266 SECTION 3. Creating a Coherent Phrase in Irregular or Additive Meter B Modal Mixture and Enharmonic Modulation Models and Melodic Fragments SECTION SECTION SECTION SECTION viii 267 Contents 1. 2. 3. 4. Diatonic and Chromatic Models 267 Melodic Fragments: All Intervals 269 Creating a Coherent Melody 271 Improvisation 271 267 C D Twentieth-Century Cabaret Song by Arnold Schoenberg Twentieth-Century Songs 275 273 SECTION 1. Art Songs by Ravel and Holst 275 SECTION 2. Melodies by Stravinsky, Rossini, Tchaikovsky, and Folk Song E Ensembles and Play + Sing 278 281 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 283 SECTION 3. Play + Sing 284 281 UNIT FIFTEEN A Rhythm—Changing Meter with Constant Pulse 287 SECTION 1. Phrases in Changing Meter 287 SECTION 2. Ensembles in Changing Meters 289 SECTION 3. Creating a Coherent Phrase in Changing Meter B Whole-tone, Octatonic, and Atonal Models and Melodic Fragments: All Intervals 290 SECTION SECTION SECTION SECTION C D E 290 1. 2. 3. 4. Atonal Models 290 Melodic Fragments: All Intervals 293 Creating a Coherent Melody 295 Improvisation 295 Twentieth-Century Melodies 296 ° Vocalises by Honegger and Martinu Ensembles of the Twentieth Century 302 303 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 310 SECTION 3. Play + Sing 312 303 UNIT SIXTEEN A Rhythm—Polymeter 314 SECTION 1. Ensembles in Polymeter B 314 Twelve-Tone Models and Melodic Fragments for Interval Study SECTION SECTION SECTION SECTION 1. 2. 3. 4. 315 Models: Dyads, Trichords, Tetrachords, Pentachords, and Hexachords Melodic Fragments: 12-Tone Series 317 Creating a Coherent Melody 318 Improvisation 319 C and D Twentieth-Century Melodies 319 E Ensembles of the Twentieth Century 322 SECTION 1. Repertoire Using Treble and Bass Clefs SECTION 2. Repertoire Using C Clefs 328 SECTION 3. Play + Sing 330 Composer and Genre Index
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