Download Building Choral Excellence: Teaching Sight-Singing in the by Steven M. Demorest PDF

By Steven M. Demorest

Designed for either the working towards choral director and the choral equipment scholar, it is a compact and entire review of the numerous instructing tools, thoughts, fabrics, and checks on hand for choral sight-singing guide. Sight-singing is a vital, if occasionally ignored, aspect of choral track schooling that frequently evokes worry and uncertainty in pupil and instructor alike. Written in an available sort, this publication takes the secret out of educating track interpreting. themes coated contain the historical past of sight-singing pedagogy and learn, fashionable tools and fabrics, and sensible recommendations for educating and evaluation. this is often the one ebook to supply this type of wealth of data lower than one disguise and may develop into a necessary a part of each choral conductor's library.

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This system used seven syllables (ut re mi fa sol la si) for the seven notes of the C major scale. All chromatic pitches were sung by their root syllable name, so the sequence g-g#-gb-g would be sung "(sol-sol-sol-sol)" with the student altering the pitch accordingly. The term fixed "do" when applied to the French system is something of a misnomer, since it has only been in this century that "ut" was replaced by "do" in the French system. Modified fixed "do" is the form most commonly used in the United States.

R. D. Daniels (1986) examined the relationship between the group sightsinging performance of 20 high school choirs and a number of background variables, including sight-singing method. She found no difference in sight-singing performance attributable to methods or materials, although teacher attitude toward sight-singing was a significant positive influence. Daniels concluded that "high school music reading instruction is ineffectual and that considerable improvement needs to be made in the high school chorus curriculum" (p.

Winnick (1987) proposed reducing the number of altered syllables by treating accidentals enharmonically, as one does on a keyboard instrument. 9b. This would simplify the reading of chromatics to only five additional syllables. " By changing the whole-step syllables to "ah" one retains the half-step suggestions of "mi" and "ti" that denote the major scale. All raised pitches would then be "i" sounds and all lowered pitches "o" sounds. This system is extremely logical in that it retains the half-step syllables and standardizes the alteration of all others.

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