3rd Edition

Developing Musicianship through Aural Skills A Holistic Approach to Sight Singing and Ear Training

    512 Pages
    by Routledge

    512 Pages
    by Routledge

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    Developing Musicianship through Aural Skills, Third Edition, is a comprehensive method for learning to hear, sing, understand, and use the foundations of music as part of an integrated curriculum, incorporating both sight singing and ear training in one volume. Under the umbrella of musicianship, this textbook guides students to "hear what they see, and see what they hear," with a trained, discerning ear on both a musical and an aesthetic level.

    Key features of this new edition include:

    • Revised selection of musical examples, with added new examples including more excerpts from the literature, more part music, and examples at a wider range of levels, from easy to challenging
    • New instructional material on dictation, phrase structure, hearing cadences, and reading lead sheets and Nashville number charts
    • An updated website that now includes a comprehensive Teacher’s Guide with sample lesson plans, supplemental assignments, and test banks; instructional videos; and enhanced dictation exercises.

    The text reinforces both musicianship and theory in a systematic method, and its holistic approach provides students the skills necessary to incorporate professionalism, creativity, confidence, and performance preparation in their music education. Over 1,600 musical examples represent a wide range of musical styles and genres, including classical, jazz, musical theatre, popular, and folk music. The third edition of Developing Musicianship through Aural Skills provides a strong foundation for undergraduate music students and answers the need for combining skills in a more holistic, integrated music theory core.


    The Method

    Syllable Systems

    Reading in Clefs

    Module 1: Simple Meters

    Module 1a: Simple Beats and Their First Division and Multiple Note Values

    Module 1b: Simple Duple and Quadruple Meters

    Module 1c: Simple Triple Meters

    Module 1d: Second Division and Multiple of the Beat in Simple Meters

    Module 1e: Rests

    Module 1f: Ties and Dotted Rhythms in Simple Meters

    Module 1g: The Anacrusis

    Module 1h: Less Common Simple Meters

    Module 2: Major and Minor Scales and Scale Degrees

    Module 2a: Major Scales and Scale Degrees

    Module 2b: Minor Scales and Scale Degrees

    Module 3: Improvisation

    Module 3a: Introduction to Improvisation

    Module 3b: Methods for Improvisation and Improvising Tonic Function

    Module 3c: Improvising Dominant Function

    Module 3d: Improvising Predominant Function

    Module 3e: Improvisation Through Arpeggiation

    Module 4: Compound Meters

    Module 4a: Compound Beats and Their First Division and Multiple Note Values

    Module 4b: Second Division of the Beat in Compound Meter

    Module 4c: Less Common Compound Meters

    Module 5: Intervals

    Module 5a: Hearing and Singing Intervals Acontextually

    Module 5b: Major and Minor Seconds

    Module 5c: Major and Minor Thirds

    Module 5d: Perfect Fifths and Octaves

    Module 5e: Perfect Fourths

    Module 5f: Minor and Major Sixths

    Module 5g: Tritones

    Module 5h: Minor and Major Sevenths

    Module 6: Triads

    Module 6a: Hearing and Singing Acontextual Triads

    Module 6b: Root Position Major Triads

    Module 6c: Root Position Minor Triads

    Module 6d: Inverted Major and Minor Triads

    Module 6e: Diminished Triads

    Module 7: Seventh Chords

    Module 7a: Singing and Hearing Seventh Chords Acontextually

    Module 7b: Dominant Seventh Chords in Root Position

    Module 7c: Dominant Seventh Chords in Inversion

    Module 7d: Minor Seventh Chords

    Module 7e: Half-Diminished Seventh Chords

    Module 7f: Fully-Diminished Seventh Chords

    Module 7g: Major Seventh Chords

    Module 8: Common Diatonic Harmonic Progressions

    Module 8a: Cadences and Phrasing

    Module 8b: The TPDT Progression

    Module 8c: Circle of Fifths Progressions

    Module 8d: Filled-In Descending Thirds (Pachelbel) Progressions

    Module 8e: Ascending Sequential Progressions

    Module 9: Irregular Division and Syncopation

    Module 9a: Triplets

    Module 9b: Duplets

    Module 9c: Syncopation Within a Measure (Intra-measure Syncopation)

    Module 9d: Syncopation Across a Barline (Inter-measure Syncopation)

    Module 9e: Triplets in Augmentation and Diminution

    Module 9f: Other Divisions of the Beat

    Module 9g: Reading Complex Rhythms

    Module 10: Non-modulating Chromaticism

    Module 10a: The Chromatic Scale and Surface Chromaticism

    Module 10b: Modal Mixture

    Module 10c: Secondary Chords in the Major Mode

    Module 10d: Secondary Chords in the Minor Mode

    Module 10e: Neapolitan and Augmented Sixth Chords

    Module 10f: Extended, Added Note, and Altered Chords

    Module 11: Modulation

    Module 11a: Techniques for Modulation

    Module 11b: Modulation Between Relative Keys

    Module 11c: Modulation to the Dominant

    Module 11d: Modulation to Other Closely Related Keys

    Module 11e: Modulation to Distantly Related Keys

    Module 12: Changing Meter, Polyrhythm, and Asymmetric Meters

    Module 12a: Changing Meter

    Module 12b: Metric Modulation

    Module 12c: Polyrhythms and Polymeters

    Module 12d: Meters with Unequal Beats

    Module 13: Other Tonally Derived Scales

    Module 13a: Pentatonic and Blues Scales

    Module 13b: The Ecclesiastic Modes

    Module 13c: Synthetic Scales

    Module 13d: Polytonality and Polymodality

    Module 14: Post-tonal Music

    Module 14a: Whole Tone and Octatonic Scales

    Module 14b: Post-tonal Music


    Appendix A Glossary of Non-English Musical Terms

    Appendix B Using Your Voice: Suggestions for Vocal Production for Non-singers

    Index of Literature Examples



    Kent D. Cleland is Professor of Music Theory at the Baldwin Wallace Conservatory of Music, where he has taught music theory and aural skills since 1999.

    Mary Dobrea-Grindahl is Professor of Piano and Chair of the Department of Keyboard Studies at the Baldwin Wallace Conservatory of Music, where she teaches solfège, Eurhythmics, and private piano.