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

Part I Rhythmic Reading

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
2.2 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, Tenuto, Caesura, General Pause;
Tempo Markings: Adagio, Andante, Moderato, Allegretto, Allegro, Metronome, M.M.;

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vi 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 vii

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
viii PROGRESSIVE SIGHT SINGING

18 Simple Meter—Irregular Division of Beat 126

18.1 Building Aural/Oral Skills 126
18.2 Symbolic Association 126
Triplets, Quintuplets, Sextuplets, Septuplets, Measured Tremolo
18.3 Rhythm Patterns and Exercises: Quarter Note = Beat Unit 127
18.4 Exercises: Other Simple Meters 131

19 Compound Meter—Irregular Division of Beat 133

19.1 Building Aural/Oral Skills 133
19.2 Symbolic Association 133
Duplets, Quadruplets, Quintuplets, Septuplets
19.3 Rhythm Patterns and Exercises: Dotted Quarter Note = Beat Unit 134
19.4 Exercises: Other Compound Meters 137

20 Hemiola and Cross-Rhythms 139

20.1 Symbolic Association: Hemiola, 2:3, 3:2 139
Hemiola, Superduplet, Supertriplet
20.2 Exercises: Hemiola, 2:3, 3:2 140
20.3 Symbolic Association: 3:4, 4:3, 2:5 143
Superquadruplet
20.4 Exercises: 3:4, 4:3, 2:5 144

21 Asymmetrical Meters 147

21.1 Symbolic Association 147
Asymmetrical Meter, Composite Meter, Quintuple, Septuple
21.2 Rhythm Patterns and Exercises: Beat Constant 148
21.3 Rhythm Patterns and Exercises: Beat Division Constant 149

22 Mixed Meters 157

22.1 Symbolic Association 157
Division Constant, Beat Constant
22.2 Exercises 158

Part II Melodic Reading

1 Tonic Pentachord in Major Mode; Simple Meters, Undivided Beat 167
1.1 Building Aural/Oral Skills: Diatonic Steps 167
Pentachord Scale, Intervals, Tonic Triad, Tertian, Root, Third, Fifth, Chord, Harmony, Arpeggio
1.2 Symbolic Association: Diatonic Steps 168
Score Notation, Staff, Line Note, Space Note, Second, Fourth, Tonic Keynote, Intervals
1.3 Tonal and Melodic Patterns: Diatonic Steps 169
1.4 Exercises: Diatonic Steps 171
1.5 Building Aural/Oral Skills: Tonic Triad 173
1.6 Symbolic Association: Tonic Triad 174
Tonic Triad, Tertian, Root, Third, Fifth, Chord, Arpeggio
 CONTENTS - PART II ix

1.7 Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad 174
Tonic Triad, Tertian, Root, Third, Fifth, Chord, Arpeggio
1.8 Exercises: Diatonic Steps, Tonic Triad 177
Clef Signs, Treble Clef, Bass Clef, Musical Alphabet, Key Signature, Hocket

2 Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Undivided Beat 181
2.1 Building Aural/Oral Skills: Diatonic Steps 181
Major Scale, Diatonic, Non-diatonic, Pentachord Major Scale, Intervals from Tonic, Intervals of a Third, Scale Degrees,
Unison, Prime
2.2 Symbolic Association: Diatonic Steps 183
Supertonic, Mediant, Subdominant, Dominant, Submediant, Leading Tone
2.3 Tonal and Melodic Patterns: Diatonic Steps 184
2.4 Exercises: Diatonic Steps 185
Ledger Lines, Hocket
2.5 Building Aural/Oral Skills: Diatonic Steps, Tonic Triad 187
Half Step, Semi-tone, Whole Step, Inverted Tonic Triads, Intervals of a Fourth
2.6 Symbolic Association: Diatonic Steps, Tonic Triad 188
Major Key Signature, Harmonic Triad, Melodic Triad, Inversions of Triad: Root, First, Second
2.7 Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad 190
2.8 Exercises: Diatonic Steps, Tonic Triad 191

3 Diatonic Steps and Tonic Triad in the Natural Minor Scale; Simple Meters,
Undivided Beat 197
3.1 Building Aural/Oral Skills: Diatonic Steps, Tonic Triad 197
Natural Minor Scale, Tonic Triad, Intervals from Tonic, Intervals of a Third, Intervals of a Fourth
3.2 Symbolic Association: Diatonic Steps, Tonic Triad 199
Minor Key Signatures, Subtonic
3.3 Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad 201
3.4 Exercises: Diatonic Steps, Tonic Triad 203

4 Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Divided Beat 206
4.1 Integrating Rhythm and Tonal Skills: Major Mode 206
Major Scale, Quality and Quantity of Intervals From Tonic, Perfect
4.2 Symbolic Association: Major Mode 207
Leading Tone, Subtonic
4.3 Melodic Patterns: Major Mode 208
4.4 Exercises: Major Mode 209

5 Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Dotted Quarter Notes 216
5.1 Integrating Rhythm and Tonal Skills: Major Mode 216
Major and Minor Thirds, Perfect and Augmented Fourths in the Major Scale, Triads Built on Each Scale Degree
5.2 Symbolic Association: Major Mode 218
Tritones, Augmented Fourths, Major Triad, Minor Triad, Diminished Triad, Motive, Sequence, Phrase, Melodic Cadence,
Progressive Cadence, Terminal Cadence, Through-Composed
5.3 Melodic Patterns: Major Mode 220
5.4 Exercises: Major Mode 220
x 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: Dominant Seventh Chord, Major Mode, Simple Meters 282
9.9 Exercises: Dominant and Dominant Seventh, Major Mode, Compound Meters 288
 CONTENTS - PART II xi

10 i 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 i 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 C Clefs 399

16.1 Symbolic Association 399
C 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
18.2 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 xiii

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: q4,p7,q1,q2,q3
Minor Mode: q4,q3
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
xiv PROGRESSIVE SIGHT SINGING

Appendices
A Rhythm Reading Systems 537
Overview of Systems 537
Gordon Syllables 537
Takadimi Syllables 538
McHose and Tibbs Syllables 539
Kodály-Based Syllables 540
Rhythm Syllable Charts 541
Gordon Syllables 542
Takadimi Syllables 544
McHose and Tibbs Syllables 546
Kodály-Based Syllables 548

B Tonal Reading Systems 549

Solmization 549
Moveable Do 549
Numbers 551
Fixed Do 551
Letter Names 551
Hand Signs 551
Tonal Ladder 553

C Dictation 554
Rhythm 554
Simple Meter 554
Compound Meter 555
Tonal 555
Melodic 556

D Conducting Patterns 557

Basic Patterns 557
Asymmetrical Patterns 557

E Glossary of Foreign Terms 558

Index 560