Comprehensive Aural Skills: A Flexible Approach to Rhythm, Melody, and

Description

Comprehensive Aural Skills, Third Edition is a complete suite of material for both performance and dictation, covering the wide range of sight singing and ear training skills required for undergraduate courses of study. It provides a series of instructional modules on rhythm, melody, and harmony, and blends musical examples from the common-practice repertory with original examples composed to... Read more

Comprehensive Aural Skills, Third Edition is a complete suite of material for both performance and dictation, covering the wide range of sight singing and ear training skills required for undergraduate courses of study. It provides a series of instructional modules on rhythm, melody, and harmony, and blends musical examples from the common-practice repertory with original examples composed to specifically address particular skills and concepts. Each module includes material for classroom performance, self-directed study, and homework assignments.

Features:

A complete suite of aural skills material: Comprehensive Aural Skills is a combined sight singing and ear training textbook, audio, and digital resource package.
Fully modular, customizable organization: Instructors can choose freely from the set of exercises in the book and supplemental material on the Instructor and Student Resources website to appropriately tailor the curriculum based on their students’ needs.
Engaging and idiomatic musical examples: Examples are selected and composed specifically for the didactic context of an aural skills classroom.
Dictation exercises for practice and assignment: Practice exercises include an answer key so students can work independently and receive immediate feedback, while homework assignments are given without a key.
Audio examples for dictation: The free-to-access website hosts live recordings of acoustic instruments performed by professional musicians for each dictation exercise and homework assignment.
Supplemental materials for instructors: A wealth of material for class use and assignment available digitally.
Teacher’s guide: The guide includes answers for every homework assignment, brief commentary on each module’s content, tips for integrating written theory, and strategies on how to effectively teach new concepts and skills.

This updated Third Edition includes the following:

New modules on jazz harmony and modal harmonies.
More examples from the literature.
Difficulty levels of examples now indicated throughout the book, improving ease of use.
New recordings available on the website, now including a wider array of instrumentation.
Revised, more modular homework assignments.
Fully updated and free to access Instructor and Student Resources website.

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PART 1 RHYTHM: MODULE 1 Introduction to Simple Meters; MODULE 2 Simple Meters, Continued; MODULE 3 Rests and Ties; MODULE 4 Introduction to Compound Meters; MODULE 5 Compound Meters, Continued; MODULE 6 Syncopation in Simple Meters; MODULE 7 Syncopation in Compound Meters; MODULE 8 Triplets, Duplets, and Hemiola; MODULE 9 Compound Meters, More Beat Patterns; MODULE 10 Compound Meters, Advanced Beat Patterns; MODULE 11 Asymmetrical and Mixed Meters. PART 2 MELODY: MODULE 1 Steps Within the Major Scale; MODULE 2 Steps Within the Minor Scale; MODULE 3 Leaps Within the Tonic Triad (Major and Minor); MODULE 4 Skips Within the Dominant (Seventh) and vii°; MODULE 5 Further Diatonic Skips; MODULE 6 Motion to the Dominant; MODULE 7 Stepwise Chromatic Tones; MODULE 8 Leaps to and from Chromatic Tones; MODULE 9 Modulation to Closely Related Keys; MODULE 10 Advanced Chromaticism; MODULE 11 Modulation to Distantly Related Keys; MODULE 12 Pentatonic and Diatonic Modes; MODULE 13 Other Modes; MODULE 14 Sets and 12-Tone Rows. PART 3 HARMONY: MODULE 1 I(i) and V (1 and 5 in the Bass); MODULE 2 IV(iv), ii6(°6), and ii (4 and 2 in the Bass); MODULE 3 I(i)6, vii°6, and V6 (3, 2, and 7 in the Bass); MODULE 4 V7 and the Cadential I (5 in the Bass); MODULE 5 Inversions of V7 and the Passing I (7, 2, and 4 in the Bass); MODULE 6 vii°7 and Its Inversions and the Pedal I; MODULE 7 IV(iv)6, vi(VI), and iii(III) (6 and 3 in the Bass); MODULE 8 Pre-Dominant Seventh Chords—ii(ø)7 and IV(iv)7; MODULE 9 Applied Dominants 1—V(7)/V, viiº6/V, and vii°7/V; MODULE 10 Applied Dominants 2—V(7)/III, V7/ IV(iv), and vii°7/iv; MODULE 11 Applied Dominants 3—V7/ii, vii°7/ii, V7/vi(VI), and vii°7/vi; MODULE 12 Modulation to Closely Related Keys; MODULE 13 Modal Mixture; MODULE 14 The Neapolitan (bII); MODULE 15 Augmented 6th Chords; MODULE 16 Modulations Using vii°7 and the ct°7; MODULE 17 Introduction to Jazz Harmony. Glossary of Musical Terms; Solmization Systems. DICTATION KEYS: PART 1 Rhythm; PART 2 Melody; PART 3 Harmony

Author(s)

Biography

Justin Merritt is Professor of Music Composition and Theory at St. Olaf College, USA.

David Castro is Professor of Music Theory at St. Olaf College, USA.

Comprehensive Aural Skills A Flexible Approach to Rhythm, Melody, and Harmony

Description

Table of Contents

Author(s)

Biography

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