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Music for Sight Singing, 10th edition

Published by Pearson (December 9, 2018) © 2019

  • Nancy Rogers College of Music, Florida State University
  • Robert W. Ottman Emeritus, University of North Texas

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For courses in Sight Singing and Music Theory.

The most celebrated, engaging and musical sight-singing text on the market

Music for Sight Singing explores organized melodies, drawn from the literature of composed music and a wide range of the world's folk music. Authentic music exercises allow readers to practice sight singing and develop their “mind's ear,” the ability to imagine how music sounds without first playing it on an instrument. A simple-to-complex arrangement lays the foundation for success.

The 10th Edition offers improved introductions to minor keys, pre-dominant leaps and chromaticism as well as increased use of bass and C clefs.

Hallmark features of this title

  • Over 1,500 exercises help students practice sight-singing skills.
  • The text provides excerpts from a range of music from the Renaissance to the present day. These include vocal and instrumental music, modal and post-tonal music, folk music and Western art music.
  • The text reviews fundamental musical concepts such as clefs, meter signatures and triads.
  • The author introduces and explains more advanced topics such as closely related keys, syncopation and symmetrical scales.
  • The text offers overviews of popular pitch and rhythm solmization systems.

New and updated features of this title

  • UPDATED: The author introduces the minor mode more gradually and systematically, and presents leaps outside of the tonic and dominant harmonies more systematically.
  • UPDATED: Tonicizations beyond the dominant and relative major have been further organized for a more gradual increase in difficulty.
  • NEW: Fresh sections address mode mixture and augmented-sixth chords.
  • UPDATED: The 10th Edition includes dedicated coverage of melodies that modulate successively among 3 or more closely related keys.
  • NEW: The number of melodies in minor keys has been increased. And more melodies in alto, tenor and bass clefs have been notated.
  • NEW: A dynamic online Rhythm Generator gives students examples of various rhythms in different meters.

PART I

MELODY: DIATONIC INTERVALS

RHYTHM: DIVISION OF THE BEAT

  1. RHYTHM: Simple Meters; The Beat and Its Division into Two Parts
  2. MELODY: Stepwise Melodies, Major Keys
    RHYTHM: Simple Meters; The Beat and Its Division into Two Parts
  3. MELODY: Leaps within the Tonic Triad, Major Keys
    RHYTHM: Simple Meters
  4. MELODY: Leaps within the Tonic Triad, Major Keys
    RHYTHM: Compound Meters; The Beat and Its Division into Three Parts
  5. MELODY: Minor Keys; Leaps within the Tonic Triad
    RHYTHM: Simple and Compound Meters
  6. MELODY: Leaps within the Dominant Triad (V); Major and Minor Keys
    RHYTHM: Simple and Compound Meters
  7. THE C CLEFS: Alto and Tenor Clefs
  8. MELODY: Further Use of Diatonic Leaps
    RHYTHM: Simple and Compound Meters
  9. MELODY: Leaps within the Dominant Seventh Chord (V7); Other Diatonic Seventh Leaps
    RHYTHM: Simple and Compound Meters

PART II

MELODY: DIATONIC INTERVALS

RHYTHM: SUBDIVISION OF THE BEAT

  1. RHYTHM: The Subdivision of the Beat: The Simple Beat into Four Parts, The Compound Beat into Six Parts
  2. MELODY: Leaps within the Tonic and Dominant Triads
    RHYTHM: Subdivision in Simple and Compound Meters
  3. MELODY: Further Use of Diatonic Leaps
    RHYTHM: Subdivision in Simple and Compound Meters

PART III

MELODY: CHROMATICISM

RHYTHM: FURTHER RHYTHMIC PRACTICES

  1. RHYTHM and MELODY: Syncopation
  2. RHYTHM and MELODY: Triplet Division of Undotted Note Values; Duplet Division of Dotted Note Values
  3. MELODY: Chromaticism (I): Chromatic Embellishing Tones; Tonicizing the Dominant; Modulation to the Key of the Dominant or the Relative Major
  4. MELODY: Chromaticism (II): Tonicization of Any Diatonic Triad; Modulation to Any Closely Related Key
  5. RHYTHM and MELODY: Changing Meter Signatures; The Hemiola; Less Common Meter Signatures
  6. RHYTHM and MELODY: Further Subdivision of the Beat; Notation in Slow Tempi
  7. MELODY: Chromaticism (III): Additional Uses of Chromatic Tones; Remote Modulation

PART IV

THE DIATONIC MODES AND RECENT MUSIC

  1. MELODY: The Diatonic Modes
  2. RHYTHM and MELODY: The Twentieth and Twenty-First Centuries

APPENDICES

  • A. RHYTHM SOLMIZATION
  • B. PITCH SOLMIZATION
  • C. MUSICAL TERMS

About our authors

Nancy Rogers is an Associate Professor of Music Theory at Florida State University. With research interests including music cognition and its pedagogical implications, Dr. Rogers has presented papers at national and international conferences, including meetings of the Society for Music Theory, the Society for Music Perception and Cognition, the International Conference on Music Perception and Cognition, and the Conference on Interdisciplinary Musicology. She was a keynote speaker at the 2009 Musical Ear conference held at Indiana University. Several of her recent publications may be found in Music Theory Online, the Journal of Music Theory Pedagogy and Em Pauta.

Professor Rogers received her PhD in music theory from the Eastman School of Music; she is also a Mellon Fellow in the Humanities. She has served as President of Music Theory Southeast, Secretary of the Society for Music Theory and Treasurer of Music Theory Midwest. Before coming to Florida State University, she served on the faculties of Northwestern University, the University of Iowa and Lawrence University.

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