Singing and Dictation for Today's Musician expands the Today's Musician family of textbooks to encompass the essential elements of musicianship and aural skills training. Featuring chapters that correspond to the organization of Theory for Today's Musician, this new textbook complements the theory text to offer a complete curriculum package, allowing students and instructors to reinforce written theory skills with relevant musicianship exercises. Combining sight singing and dictation in a single volume, this new textbook underscores the value of combining the human senses in understanding the intellectual and analytic concepts of music theory.
Features of this text include:
Flexibility for the instructor in using moveable or fixed "Do," scale degree numbers, and neutral syllables for singing
Both singing and dictation exercises included in each unit, allowing the two skills to be fully integrated
Companion website with audio recordings and instructor keys for the exercises, at www.routledge.com/cw/mccarthy
Units match the pacing and order of topics in Theory for Today's Musician, allowing the texts to be easily used in sync.
Beginning with fundamentals and continuing up through twentieth-century materials, Singing and Dictation for Today's Musician allows instructors to closely align their teaching of musicianship and aural skills with the written theory curriculum, enhancing student understanding of core music principles.
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Yes, you can access Singing and Dictation for Today's Musician by Daniel McCarthy,Ralph Turek in PDF and/or ePUB format, as well as other popular books in Médias et arts de la scène & Musique. We have over one million books available in our catalogue for you to explore.
This text is a Musicianship (Singing and Dictation) skills companion to the third edition of Theory for Today’s Musician by Ralph Turek and Daniel McCarthy. It is based on the integration of musicianship skills instruction with written skills instruction and the theory lecture. This notion underscores the value of combining the human senses, aural, oral, tactile (keyboard), and visual, in understanding the intellectual concepts of music theory.
The study is example-intensive and short on written explanations. Each unit parallels concepts from corresponding chapters of Theory for Today’s Musician through singing and dictation exercises and is, therefore, comprehensive. Instructor flexibility regarding the use of moveable “Do” solfege syllables, fixed “Do,” scale degree numbers, and neutral syllables for singing is encouraged. Each unit is divided into two parts: Part I for singing and Part II for dictation (rhythmic, melodic, harmonic, and error detection). Dictation examples have been recorded and are available for listening on the publisher’s companion website.
SINGING: A VOICE LEADING/SCHENKERIAN APPROACH
The underlying voice leading of the melodies in this text is illuminated by a dotted slur notation. A dotted or solid bracket indicates a pedal. The student can use this aspect of notation to hear the underlying step-wise connections that are so often present in tonal music (see below). These voice leading connections are also indicated in the melodies of the post-tonal examples as well.
NOTATIONS AND PITCH MATTERS: CLEFS
In Chapter One of Theory for Today’s Musician (from here on referred to as “the text”) you were introduced to medieval Gothic clef notation of our most commonly used clefs, the “C” Clef, F Clef, and G Clef.
Below is the complete set of “C” clefs, bass clef, and treble clef.
Many American and European conservatories still require their students to read music in all five “C” clefs today. We will use only two, the tenor and alto clefs, since they are the only ones still commonly in use today. Thus, our singing and dictation will use the following four clefs.
These notes are all C4:
Harmonic dictation will use a “Grand Staff,” a combination of treble and bass clef staves joined by a line at the beginning of a “system” (a line of music notation from left to right), known as a “bracket,” which is also joined by a “brace”:
The Grand Staff:
THE SOLFEGE SYLLABLE SYSTEM
Solmization
Besides being “the father of the staff,” Guido was the great popularizer of solmization—assigning syllables to pitches as an aid to sight singing. He drew upon the hymn Ut queant laxis, in which each phrase begins a step hig...
