Download Developing Musicianship Through Aural Skills: A Holistic by Kent D. Cleland PDF

By Kent D. Cleland

A textbook for studying to listen to, sing, comprehend, and use the rules of track as part of an built-in curriculum for musicians. It offers you the musical phrases, progressions, resolutions, and units for you to draw upon as a sensible and usable musical vocabulary. basic meter, rests and words : the foremost mode, significant triads and tonic functionality -- Compound meters, ties and dots : the minor mode and inverted triads -- altering meter : the second one department in compound meter : the dominant sound -- Triplets and duplets : 7th chords and main functionality -- much less universal meters : C clefs and harmonic development -- Syncopation : starting non-modulating chromaticism -- Triplets and duplets : extra non-modulating chromaticism -- Triplets, different clefs, starting modulation -- studying advanced rhythms : extra complicated modulation -- Twentieth-century rhythmic strategies -- Twentieth-century fabric in accordance with tonal versions -- Twentieth-century fabric according to non-tonal versions

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Extra info for Developing Musicianship Through Aural Skills: A Holistic Approach to Sight Singing and Ear Training

Sample text

The musical patterns that appear below are effective ways for memorizing the unique sound of each scale degree. Notice that some scale degrees have more than one pattern associated with them. In these cases, learn to use all of them. Begin by establishing a key by playing or hearing a chord progression or scale. For now, we will learn all of the scale degrees in the key of D major. Be aware, however, that changing keys does not alter the relationship between a scale degree and its tonic pitch. A supertonic (or second) scale degree behaves the same way whether in the key of D major or in any of the eleven other major keys.

Your challenge is to identify, understand, and label the sound that your ear already knows. To hear major thirds, follow these steps: 1. Listen first for the relative stability of the two pitches. The lower pitch usually has the much more stable sound of tonic, while the higher pitch usually sounds like it wants to resolve down from scale degree 3, through scale degree 2, and down to tonic. 1 A Mi 3 Re 2 Do 1 2. Note that you are hearing scale degrees 1 and 3 in the major scale, and use your knowledge of harmony to identify that interval as a major third.

Give yourself a pitch and practice singing major and minor thirds above and below it. Work for stellar intonation. 2. 11 Do Mi Re Fa Mi Sol Fa La Sol Ti La Do Ti Re Do 1 3 2 4 3 5 4 6 5 7 6 1 7 2 1 Do La Ti Sol La Fa Sol Mi Fa Re Mi Do Re Ti Do 1 6 7 5 6 4 5 3 4 2 3 1 2 7 1 Clap on the crusis of each measure while you sing. Be mindful of and focus on your intonation as you perform these exercises. Start slowly, and gradually increase your tempo, making sure you stay in tune as the tempo increases.

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