16 Sight Singing Assignment

Warm-Up: Intervals in Context

Every interval has a logical context in diatonic music. Intervals are not random. Additionally, not every interval can be logically related to do. In this warm-up, all simple intervals appear in common major-key contexts. Conduct and sing using solfege.

Rhythm-Only Examples: Dotted Rhythms

Conduct yourself confidently in the beat pattern indicated by the numerator of the time signature. Chant the rhythms using the syllable “Tah,” further subdividing in your head. Aim to perform the rhythms crisply and accurately, i.e. don’t “tripletize” or “double-dot” any of the dotted rhythms. Practice both with and without a metronome. Record yourself to check for errors or rhythmic inaccuracy.

Diatonic Melodies With Mostly Stepwise Motion and Dotted Rhythms

Alouette, gentille alouette (Canadian folk song)

Isaac Watts, “Joy to the World” (1719)

Diatonic Melodies With Tonic Triad Skips and Dotted Rhythms

Wolfgang Amadeus Mozart, Concerto for Flute and Harp, K. 299, I.

Mozart, Clarinet Concerto, K. 622, II.

George Frideric Handel, Water Music, HWV 348, V. “Air”

Franz Schubert, Die Forelle (“The Trout”), D. 550

Rhythm-Only Examples: Compound Time

In the three examples below, the same rhythmic pattern appears in three different time signatures. Internalize how these common patterns appear in 6/16 and 6/4 as well as in the more familiar 6/8. Conduct yourself in two, and chant the rhythms using the syllable “Tah.”

When you prepare to sightread in compound time, first ascertain the number of beats in the measure, the beat note, and the possible divisions and subdivisions of the beat. (You can determine the number of beats in the measure by dividing the numerator of the time signature by 3. In 9/8 time, therefore, there are three beats in the measure; the beat note is therefore equivalent in duration to three eighth notes…i.e. the beat is the dotted quarter note.)

Conduct yourself while you chant the rhythms using the syllable “Tah.”

Rounds

Sing this round, “Why Shouldn’t My Goose?”, with a partner. The second singer should begin when the first singer has reached the downbeat of the second measure. Take care to subdivide crisply and accurately when performing the dotted rhythms. For fun, why not try singing this round with four singers?

“Why Shouldn’t My Goose?” (Traditional English round)

The next round, “London’s Burning,” is in compound time. Conduct in three, being careful to internalize the triple division of the beat to ensure correct rhythms. The second singer should begin when the first singer has reached the third beat of the second full measure.

“London’s Burning” (Traditional English round)