InSIGHT SINGING: Essential Elements for Choir … brain...Utilizing a systematic approach, this book...

InSIGHT SINGING

65 Bleecker Street, New York, NY 10012www.carlfischer.com

CMF6 — $8.99 USA

UPCISBN 978-0-8258-9106-9

InSIGHT SINGING:A Multi-Sensory Approach to Reading Music

Denise EatonJan JuneauSally Schott

InSIGHT SINGING supplies valuable teaching tools which can unlock the mystery which often surrounds music reading. The approach is systematic, intuitive and thus, user-friendly. The “learning strategies” which accompany the melodies incorporate ALL senses through multisensory learning. These ideas give direction to the learner and the teacher in developing

the necessary musical skills and confidence to sight-sing in a manner which includes musical accuracy while always encouraging good vocal technique. Using this type of consistent, thoughtful organization of concepts, students can learn to be secure in their abilities as music readers, as well as becoming “insightful singers.”

— Lynne Gackle, Ph.D.Professor of Ensembles

Associate Director of Choral ActivitiesBaylor University - Waco, Texas

Successful choral programs are the result of sound teaching. Sound teaching is rooted in skill development. Skill development depends upon structured, logical, and sequential materials. InSIGHT SINGING is designed with the materials needed to produce skilled and confident sight-readers. Utilizing a systematic approach, this book is an excellent teaching tool for training the whole

musician, developing the ability to read rhythm and intervals while encouraging expressiveness and appropriate singing technique. From the choral methods classroom to the public school choir room, InSIGHT SINGING is an invaluable resource for both the student musician and the experienced teacher.

— Allen Hightower, D.M.ADirector of Choral ActivitiesConductor of Nordic Choir

Luther College - Decorah, Iowa

The authors have a total of more than 100 years of teaching experience, ranging from elementary to college level. Each of these outstanding mu-sic educators is a frequent presenter at state and regional conferences and school district staff de-velopment sessions. Denise Eaton, Choral Edi-tor for Carl Fischer Music Publications and BriLee Music Company, has created successful and widely used publications for the teaching of sight

IMAGINE YOUR STUDENTS BECOMING INDEPENDENT SIGHT-READERS!

This book provides a systematic process for improving:

•sight-singingskills

• integrationofvisual,auditoryandkinesthetic learningstylesinreadingmusic

•overallmusicianship

reading. Jan Juneau has served as a contribut-ing author/editor for the state adopted textbooks Essential Elements for Choir and Experiencing Choral Music. Sally Schott has coordinated the writing team for the state adopted textbooks Sing! and Something to Sing About, produced DVDs featuring Sandra Snow, Paul Salamunovich and Weston Noble and collaborated on sight reading books for mixed, treble and tenor bass choirs.

About the Authors

CM

F6InSig

htSinging

—Ea

ton/June

au/Sc

hott

CMF0006cvr_DEbook.indd 1 7/3/13 3:25 PM

InSIGHT SINGING

65 Bleecker Street, New York, NY 10012www.carlfischer.com

CMF6 — $8.99 USA

UPCISBN 978-0-8258-9106-9

InSIGHT SINGING:A Multi-Sensory Approach to Reading Music

Denise EatonJan JuneauSally Schott

InSIGHT SINGING supplies valuable teaching tools which can unlock the mystery which often surrounds music reading. The approach is systematic, intuitive and thus, user-friendly. The “learning strategies” which accompany the melodies incorporate ALL senses through multisensory learning. These ideas give direction to the learner and the teacher in developing

the necessary musical skills and confidence to sight-sing in a manner which includes musical accuracy while always encouraging good vocal technique. Using this type of consistent, thoughtful organization of concepts, students can learn to be secure in their abilities as music readers, as well as becoming “insightful singers.”

— Lynne Gackle, Ph.D.Professor of Ensembles

Associate Director of Choral ActivitiesBaylor University - Waco, Texas

Successful choral programs are the result of sound teaching. Sound teaching is rooted in skill development. Skill development depends upon structured, logical, and sequential materials. InSIGHT SINGING is designed with the materials needed to produce skilled and confident sight-readers. Utilizing a systematic approach, this book is an excellent teaching tool for training the whole

musician, developing the ability to read rhythm and intervals while encouraging expressiveness and appropriate singing technique. From the choral methods classroom to the public school choir room, InSIGHT SINGING is an invaluable resource for both the student musician and the experienced teacher.

— Allen Hightower, D.M.ADirector of Choral ActivitiesConductor of Nordic Choir


The authors have a total of more than 100 years of teaching experience, ranging from elementary to college level. Each of these outstanding mu-sic educators is a frequent presenter at state and regional conferences and school district staff de-velopment sessions. Denise Eaton, Choral Edi-tor for Carl Fischer Music Publications and BriLee Music Company, has created successful and widely used publications for the teaching of sight




• integrationofvisual,auditoryandkinesthetic learningstylesinreadingmusic


reading. Jan Juneau has served as a contribut-ing author/editor for the state adopted textbooks Essential Elements for Choir and Experiencing Choral Music. Sally Schott has coordinated the writing team for the state adopted textbooks Sing! and Something to Sing About, produced DVDs featuring Sandra Snow, Paul Salamunovich and Weston Noble and collaborated on sight reading books for mixed, treble and tenor bass choirs.

About the AuthorsC

MF6

InSightSing

ing—

Eato

n/Junea

u/Scho

tt CMF0006cvr_DEbook.indd 1 7/3/13 3:25 PM

ImagIne Your StudentS BecomIng Independent SIght-readerS!

Appendix C“The Interval Song”

RE 2

DO 1

Second

MI 3

RE 2

DO 1

Third

FA 4

MI 3

RE 2

DO 1

Fourth

SOL 5

FA 4

MI 3

RE 2

DO 1

Fifth

LA 6

SOL 5

FA 4

MI 3

RE 2

DO 1

Sixth

TI 7

LA 6

SOL 5

FA 4

MI 3

RE 2

DO 1

Seventh

T I 7

LA 6

SOL 5

FA 4

MI 3

RE 2

DO 1

Octave

DO 8

&

?

44

44œ œ œ œ œ œDo Re Ma jor Se cond

œ œ œ œ œ œDo Re Ma jor Se cond

2

œ œ œ œ œDo Mi Ma jor Third


3

œ œ œ œ œDo Fa Per fect Fourth


- --

-

- --

-

&

?

4

œ œ œ œ œDo Sol Per fect Fifth


5

œ œ œ œœ

Do La Ma jor Sixth

œ œ œ œœ

Do La Ma jor Sixth

6

œ œ œ œœ

Do Ti Ma jor Seventh

œ œ œ œœ

Do Ti Ma jor Seventh

7

œ œ œ œœ œ

Do Do Per fect Oc tave

œ œ œ œœ œ


--

-- -

--

-- -

&

?

8 œ œ œ œ œ œDo Ti mi nor Se cond

œ œ œ œ œ œ

Do Ti mi nor Se cond

9 œ œ œ œ œDo La mi nor Third

œ œ œ œ œDo La mi nor Third

10œ œ œ œ œDo Sol Per fect Fourth

œ œ œ œ œDo Sol Per fect Fourth

11œ œ œ œ œDo Fa Per fect Fifth

œ œ œ œ œDo Fa Per fect Fifth

- --

--

- --

--

&

?

12œ œ œ œ œDo Mi mi nor Sixth

œ œ œ œ œDo Mi mi nor Sixth

13œ œ œœ œ

Do Re mi nor Seventh

œ œ œœ œ

Do Re mi nor Seventh

14œ œœ œ œ œ


œ œœ œ œ œ


-

-

- -

-

-

- -

The Interval Song:

Ascending and Descending Intervals Beginning on DO

CMF6

46

&

?

##

# #

œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ

DO RE MI FA SOL LA TI DO RE DO TI LA SOL FA MI RE DO TI LA SOL LA TI DO

œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ

&?

##

# #

wwwwww www

wwwwww wwwI IV

V

&?

##

# #

44

44œ œ œœ œ œ œ

œ œ œœ œ œ œI

œ œ œ œ œ œ œ

œ œ œ œ œ œ œIV


œ œ œ œ œ œ œV

œ œ œœ œ œ œ

œ œ œœ œ œ œI

44 œ œ œ œ œ œ œ jœ ‰ œ œ œ œ œ œ œ .œ jœ ˙

86 .œ œ œ œ œ jœ jœ œ œ œ œ œjœ .œ .œ

&?

##

# #

44

44œ œ œ œ œ œ

œ œ œ œ œ œ1

2

.œjœ ˙

.œ Jœ ˙

3 œ œ œ œ œœ œ œ œ œ

4

˙ Œ œ

˙ Œ œ

&

?

##

# #

5 œ œ .œ Jœ

œ œ .œ Jœ

6 œ œ œ œ ˙œ œ œ œ ˙

7

œ œ œ œ œ

œ œ œ œ œ

8 .œ jœ ˙.œ Jœ ˙

Key of D Major

Preparatory Drill: Chords Built on DO (I), FA(IV) and SOL (V)

Melodies

Chords Built on DO (I), FA (IV) and SOL (V)

Maintain your sense of tonality and keep moving forward without hesitating, especially

when intervals seem challenging.

Preparatory Drill: Rhythm

D Major Scale

Scale on Keyboard

A

Key of D Major

F≥C≥

D E G A B D

CMF6

22

&

?

b

b

œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ

DO RE MI FA SOL LA SOL FA MI RE DO TI LA SOL FA MI FA SOL LA TI DO

œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ

&?

b

b

www www wwwwww www wwwI

IVV

&?

b

b

44

44œ œ œ œ œ œ œ

œ œ œ œ œ œ œI


œ œ œ œ œ œ œIV


œ œ œ œ œ œ œV


œ œ œ œ œ œ œI

44 .œ jœ œ œ œ ˙ œ œ œ .œ jœ œ œ ˙

86 œ œ œ .œ .œ œ ‰ œ jœ œjœ œ jœ .œ

&?

b

b

43

43œœ1

1

˙ œ

˙ œ

2 ˙ œ˙ œ

3

œ .œjœ

œ .œ Jœ

&

?

b

b

4

œ Œœ

œ Œœ

5 œ ˙

œ ˙

6 ˙ œ œ˙ œ œ

7 œ œ œ

œ œ œ

8

˙˙

Key of F Major

Preparatory Drill: Chords Built on DO (I), FA (IV) and SOL (V)

Melodies


Sing with a supported tone and avoid breathing at every bar line.


F Major Scale

Scale on Keyboard

K

B≤

F G AC D E F

17

CMF6

Key of F Major

&?

### #44

44œ œ œ œ œ

œ

œ œ œ œ œœ

1

2 .œ jœ ˙.œ Jœ ˙

3

œ œ œ œ .œjœ

œ œ œ œ .œ Jœ

4

œŒ œ œ œ

œ Œœ œ œ

&?

### #

5

œ œ œ .œ jœœ œ œ

.œ Jœ

2

6 œ œ œ œ œ ‰jœ

œ œ œ œ œ ‰ Jœ

7



8

œ œ œ œ˙̇

œ œ œ œ˙̇

&?

#

#43

43œ œ œ œœ œ œ œ

2

.œjœ œ

.œ Jœœ

3 œ œ œ œœ œ œ œ

4 œ œ Œœ œ Œ

&?

#

#

5

œ œ œ œœ œ

œ œ œ œœ œ

6 œ .œ jœœ .œ jœ

7

œœ .œ jœ

œœ .œ Jœ

8

œ œ ˙œ œ ˙

&?bb

bb86

86œ œ œœ œ œ3

1

œ jœœ œ œ

œ jœœ œ œ

2 œ œ œœ œ œ

3

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œ Jœ œ œ œ

&?bb

bb

4 .œ ‰ œœ

.œ ‰ œ œ

5 œ jœ œ œ œœ Jœ

œ œ œ

6

œ œ œœ œ œ

7

œ œ œ œœ œ

œ œ œ œœ œ

8 .œ.œ

Active rhythmic patterns and unusual skips and leaps which are not always part of the I, IV

and V tonality add to the challenge of this section. To achieve accuracy, study rhythm and

pitch separately in preparation for applying insightful skills in singing the melody.

Scan carefully to locate ascending intervals of the fourth, fifth, sixth and octave as well as

descending intervals of the third, fourth and fifth. Audiate each until secure.

This melody contains eight intervals larger than a third. Audiate each carefully during

preparation, relating each to the notes of the I, IV and V chords.

Focus on the rhythmic patterns while comparing the groupings of notes. How would the three

quarter notes in measures 2 and 6 be grouped, counted and conducted?

Challenge Melodies

S

Challenge Melodies

CMF6

42

InSIGHT SINGING

65 Bleecker Street, New York, NY 10012

www.carlfischer.com

CMF6 — $8.99 USA

UPC

ISBN 978-0-8258-9106-9

InSIGHT SINGING:

A Multi-Sensory Approach

to Reading Music

Denise Eaton

Jan Juneau

Sally Schott

InSIGHT SINGING supplies valuable teaching

tools which can unlock the mystery which often

surrounds music reading. The approach is

systematic, intuitive and thus, user-friendly.

The “learning strategies” which accompany

the melodies incorporate ALL senses through

multisensory learning. These ideas give direction

to the learner and the teacher in developing

the necessary musical skills and confidence to

sight-sing in a manner which includes musical

accuracy while always encouraging good vocal

technique. Using this type of consistent, thoughtful

organization of concepts, students can learn to

be secure in their abilities as music readers, as

well as becoming “insightful singers.”

— Lynne Gackle, Ph.D.

Professor of Ensembles

Associate Director of Choral Activities

Baylor University - Waco, Texas

Successful choral programs are the result of

sound teaching. Sound teaching is rooted in skill

development. Skill development depends upon

structured, logical, and sequential materials.

InSIGHT SINGING is designed with the materials

needed to produce skilled and confident sight-

readers. Utilizing a systematic approach, this book

is an excellent teaching tool for training the whole

musician, developing the ability to read rhythm

and intervals while encouraging expressiveness

and appropriate singing technique. From the

choral methods classroom to the public school

choir room, InSIGHT SINGING is an invaluable

resource for both the student musician and the

experienced teacher.

— Allen Hightower, D.M.A

Director of Choral Activities

Conductor of Nordic Choir


The authors have a total of more than 100 years

of teaching experience, ranging from elementary

to college level. Each of these outstanding mu-

sic educators is a frequent presenter at state and

regional conferences and school district staff de-

velopment sessions. Denise Eaton, Choral Edi-

tor for Carl Fischer Music Publications and BriLee

Music Company, has created successful and

widely used publications for the teaching of sight




• integrationofvisual,auditoryandkinesthetic

learningstylesinreadingmusic


reading. Jan Juneau has served as a contribut-

ing author/editor for the state adopted textbooks

Essential Elements for Choir and Experiencing

Choral Music. Sally Schott has coordinated the

writing team for the state adopted textbooks Sing!

and Something to Sing About, produced DVDs

featuring Sandra Snow, Paul Salamunovich and

Weston Noble and collaborated on sight reading

books for mixed, treble and tenor bass choirs.

About the Authors

CM

F6

InSightSing

ing—

Eaton/Junea

u/Schott

CMF0006cvr_DEbook.indd 1

7/3/13 3:25 PM



•integrationofauditory,kinestheticandvisuallearningstylesinreadingmusic


www.carlfischer.com

DeniseEatonJanJuneauSallySchott

InSIGHT SINGING:AMulti-SensoryApproach

toReadingMusic

Catalog Number: CMF6 — Price: $8.99

ABOUT THIS BOOK• Thisbookconsistsofunisonmelodieswritteninthetrebleandbassclefs.• Youmayreadineitherclef.Foreffective skill development, you should

sing in the clef in which your repertoire is written. • Whenoctavesarenotated,usetheoctavewhichbestsuitsyourrangeandneed.

BECOMING AN INSIGHTFUL MUSIC READER Each melody in this book includes helpful information featuring learning strategies designed to assist you in becoming an insightful music reader.

• Realize that each of these ideas can be appliedto other melodies in this book.• Capitalizeontheselearningstrategiesandusethemtoimproveyour

overall musicianship.• Becreativeingettingthemaximumbenefitfromthisinformation.

As an insightful music reader your increasing depth of understanding and skill level will enable you to continue to develop your overall musicianship.

These strategies are divided into four categories:

VISUAL Focus on visually identifying key and meter signatures, spe-

cificintervals,melodiccontour,andchordsbuiltonDO(I),FA(IV),andSOL(V).Developtheabilitytoscanthescorerapidlyandtorecognizerepeatedpatterns.

AUDITORY Focusonhearingwithyourinnerear(audiation)asyouiden-

tify the sound of a major scale, the intervals from DO to DO, familiar tonal patterns, and chord outlines.

KINESTHETIC Focusonmovement(kinestheticexpression)tokeepasteady

beat, perform rhythmic patterns, and accent the downbeat and groupingsofnotes(conducting).Showspatialrelationshipsofintervals and melodic contour with hand signs and gestures.

CHALLENGE Demonstrate your success in using a multi-sensory approach

to sight-singing by accepting these challenges to “reach for the stars.”

CORRELATING THE KEYBOARD AND GRAND STAFFThe grand staff and keyboard, which can be found on the inside back cover, reinforce the multisensory approach of this book. By examining the key-board, you can increase your understanding of the distance between pitches. Seeingandtouchingintervalsonthekeyboardwillhelpyouacquireavisualand kinesthetic understanding of these distances. Accessing an actual key-board will enable you to feel, hear and see each interval as you continue to develop your tonal vocabulary.

CMF6

6

www.carlfischer.com

Page2

&

?

##

##

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

DO RE MI FA SOL LA TI DO RE DO TI LA SOL FA MI RE DO TI LA SOL LA TI DO

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

&?

##

##

www www wwwwww www wwwI IV V

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##

##

44

44œ œ œ œ œ œ œœ œ œ œ œ œ œI

œ œ œ œ œ œ œœ œ œ œ œ œ œIV

œ œ œ œ œ œ œœ œ œ œ œ œ œV

œ œ œ œ œ œ œœ œ œ œ œ œ œI

44 œ œ œ œ œ œ œ jœ ‰ œ œ œ œ œ œ œ .œ jœ ˙

86 .œ œ œ œ œ jœ jœ œ œ œ œ œ jœ .œ .œ

&?

##

##

44

44œ œ œ œ œ œœ œ œ œ œ œ

1

2

.œ jœ ˙

.œ Jœ ˙

3 œ œ œ œ œœ œ œ œ œ

4

˙ Œ œ

˙ Œ œ

&

?

##

##

5 œ œ .œ Jœ

œ œ .œ Jœ

6 œ œ œ œ ˙œ œ œ œ ˙

7

œ œ œ œ œœ œ œ œ œ

8

.œ jœ ˙

.œ Jœ ˙

Key of D Major

Preparatory Drill: Chords Built on DO (I), FA(IV) and SOL (V)

Melodies


Maintain your sense of tonality and keep moving forward without hesitating, especiallywhen intervals seem challenging.


D Major Scale

Scale on Keyboard

A

Key of D Major

F≥ C≥

D E G A B D

CMF6

22

www.carlfischer.com

Page3

DO

TI

LA

SOL

FA

MI

RE

DO

DO 1

TI 7

LA 6

SOL 5

FA 4

MI 3

RE 2

DO 1

(Middle C)

half-step half-stephalf-step

half-step

half-stephalf-stephalf-stephalf-step

C≥D≤

C≥D≤

D≥E≤

D≥E≤

F≥G≤

F≥G≤

G≥A≤

G≥A≤

A≥B≤

A≥B≤

C≥D≤

C D E F G A B C D E F G A B C

1.Theformulaforthenoteswhichformamajorscaleiswhole(W)and

half(H)stepsinthispattern:WWHWWWH.Halfsteps(H)occurbetweenthethirdandfourthsteps(MI-FA)andtheseventhandeighthsteps(TI-DO).

2. The C Major scale naturally fits this formula, using all white keys on the keyboard.

3. To create major scales on other pitches, use black notes to adjust the intervals to fit the formula. A white note lowered to a black note is called aflat(b).Awhitenoteraisedtoablacknote,iscalledasharp(#).Theflats or sharps used are shown in the key signature for that particular scale. To gain a better understanding, use the keyboard to build major scales beginning on F and G.

4. In the F scale, it is necessary to lower the fourth step of the scale, B, to B flat to fulfill the major scale formula.

5. In the G scale, it is necessary to raise the seventh step of the scale, F, to F sharp to fulfill the major scale formula.

Appendix EUsing the Keyboard to Understand the Structure of a Major Scale

SCALE LADDER

SHOwING HALF STEPS

KODALY-CURwIN

HAND SIGNS

DO

TI

LA

SOL

FA

MI

RE

DO

DO 1

TI 7

LA 6

SOL 5

FA 4

MI 3

RE 2

DO 1

(Middle C)


half-step


C≥D≤

C≥D≤

D≥E≤

D≥E≤

F≥G≤

F≥G≤

G≥A≤

G≥A≤

A≥B≤

A≥B≤

C≥D≤


CM

F6

48

DO

TI

LA

SOL

FA

MI

RE

DO

DO 1

TI 7

LA 6

SOL 5

FA 4

MI 3

RE 2

DO 1

(Middle C)


half-step


C≥D≤

C≥D≤

D≥E≤

D≥E≤

F≥G≤

F≥G≤

G≥A≤

G≥A≤

A≥B≤

A≥B≤

C≥D≤


A G

UID

E FOR

THE EFFEC

TIVE

USE O

F THIS BO

OK

Insightful singers adopt a system

atic approach to m

usic reading an

d follow it un

til accuracy is ach

ieved.

1. Sin

g the m

ajor scale as written

. Each

scale reflects th

e range of th

e melodies

for the given

key. 2.

Refer to the keyboard to visualize the placem

ent of whole and half steps.

3. Sin

g the D

O (I), FA

(IV) an

d SOL

(V) ch

ords as outlined.

4. E

stablish an

d main

tain a steady beat w

ith ph

ysical movem

ent.

5. C

han

t the rh

ythm

using your preferred coun

ting system

.6.

Scan an

d audiate the in

tervals in th

e melody usin

g solfege syllables.7.

Ch

ant an

d sign th

e solfege syllables in rh

ythm

.8.

Audiate, th

en sin

g the D

O ch

ord using solfege syllables.

9. Select a com

fortable reading tem

po and sin

g the m

elody on solfege, in

rh

ythm

, as you contin

ue to han

d sign.

10. Review

any pitch

es that w

ere uncertain

by isolating an

d practicing th

e in

tervals around th

em.

11. Increase th

e tempo gradually an

d repeat the process un

til accuracy is attained.

12. Strive to

combin

e m

usical accuracy

with

expressive

phrasin

g w

hile

incorporatin

g rhyth

mic stress an

d dynam

ic contrast.

13. Repeat th

e exercises until you can

sing th

em w

ith ease. R

emem

ber, your goal is m

astery of each m

elody. 14. A

lways use your best, w

ell-produced and well-supported tone.

Trust the process. A

s you become secure in

this m

ethod, you w

ill fin

d yourself movin

g m

ore rapidly through

these steps.

A good m

usician is the ultimate m

ulti-tasker!

CM

F0006cvr_D

Ebook.indd 2

7/3/13 3:25 PM

www.carlfischer.com

Page4

Appendix C“The Interval Song”

RE 2

DO 1

Second

MI 3

RE 2

DO 1

Third

FA 4MI 3

RE 2

DO 1Fourth

SOL 5

FA 4

MI 3

RE 2

DO 1

Fifth

LA 6

SOL 5

FA 4

MI 3

RE 2

DO 1

Sixth

TI 7

LA 6

SOL 5

FA 4

MI 3

RE 2

DO 1Seventh

T I 7

LA 6

SOL 5

FA 4

MI 3

RE 2

DO 1Octave

DO 8

&

?

44

44œ œ œ œ œ œ

Do Re Ma jor Se cond

œ œ œ œ œ œDo Re Ma jor Se cond

2



3



- - - -

- - - -

&

?

4



5

œ œ œ œ œDo La Ma jor Sixth

œ œ œ œ œDo La Ma jor Sixth

6

œ œ œ œ œDo Ti Ma jor Seventh

œ œ œ œ œDo Ti Ma jor Seventh

7

œ œ œ œ œ œDo Do Per fect Oc tave


- - - - -

- - - - -

&

?

8œ œ œ œ œ œDo Ti mi nor Se cond

œ œ œ œ œ œDo Ti mi nor Se cond

9œ œ œ œ œDo La mi nor Third

œ œ œ œ œDo La mi nor Third

10œ œ œ œ œDo Sol Per fect Fourth

œ œ œ œ œDo Sol Per fect Fourth

11œ œ œ œ œDo Fa Per fect Fifth

œ œ œ œ œDo Fa Per fect Fifth

- - - - -

- - - - -

&

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12œ œ œ œ œDo Mi mi nor Sixth

œ œ œ œ œDo Mi mi nor Sixth

13œ œ œ œ œDo Re mi nor Seventh

œ œ œ œ œDo Re mi nor Seventh

14œ œ œ œ œ œDo Do Per fect Oc tave


- - - -

- - - -

The Interval Song:Ascending and Descending Intervals Beginning on DO

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DO

TI LA SOL

FA MI

RE

DO

DO

1

TI7

LA6

SOL

5

FA4

MI

3

RE

2

DO

1

(Mid

dle

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ha

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ha

lf-st

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ha

lf-st

ep

ha

lf-st

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ha

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ha

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ep

ha

lf-st

ep

ha

lf-st

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C≥

D≤

C≥

D≤

D≥ E≤

D≥ E≤

F≥ G≤

F≥ G≤

G≥

A≤

G≥

A≤

A≥

B≤A≥

B≤C≥

D≤

CD

EF

GA

BC

DE

FG

AB

C

A GUIDE FOR THE EFFECTIVE USE OF THIS BOOK

Insightful singers adopt a systematic approach to music reading and follow it until accuracy is achieved.

1. Sing the major scale as written. Each scale reflects the range of the melodies for the given key.

2. Refer to the keyboard to visualize the placement of whole and half steps.3. Sing the DO (I), FA (IV) and SOL (V) chords as outlined.4. Establish and maintain a steady beat with physical movement.5. Chant the rhythm using your preferred counting system.6. Scan and audiate the intervals in the melody using solfege syllables.7. Chant and sign the solfege syllables in rhythm.8. Audiate, then sing the DO chord using solfege syllables.9. Select a comfortable reading tempo and sing the melody on solfege, in

rhythm, as you continue to hand sign.10. Review any pitches that were uncertain by isolating and practicing the

intervals around them.11. Increase the tempo gradually and repeat the process until accuracy is attained. 12. Strive to combine musical accuracy with expressive phrasing while

incorporating rhythmic stress and dynamic contrast. 13. Repeat the exercises until you can sing them with ease. Remember, your goal

is mastery of each melody. 14. Always use your best, well-produced and well-supported tone.

Trust the process. As you become secure in this method, you will find yourself moving more rapidly through these steps.

A good musician is the ultimate multi-tasker!

CMF0006cvr_DEbook.indd 2 7/3/13 3:25 PM

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Active rhythmic patterns and unusual skips and leaps which are not always part of the I, IV and V tonality add to the challenge of this section. To achieve accuracy, study rhythm and pitch separately in preparation for applying insightful skills in singing the melody.

Scan carefully to locate ascending intervals of the fourth, fifth, sixth and octave as well as descending intervals of the third, fourth and fifth. Audiate each until secure.

This melody contains eight intervals larger than a third. Audiate each carefully during preparation, relating each to the notes of the I, IV and V chords.

Focus on the rhythmic patterns while comparing the groupings of notes. How would the three quarter notes in measures 2 and 6 be grouped, counted and conducted?

Challenge MelodiesS

Challenge Melodies

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Key of F Major

Preparatory Drill: Chords Built on DO (I), FA (IV) and SOL (V)

Melodies


Sing with a supported tone and avoid breathing at every bar line.


F Major Scale

Scale on Keyboard

K

B≤

F G A C D E F

17

CMF6

Key of F Major

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