80 Sight Singing Assignment

Warm-Up: Chromaticism and Tonicization

Sing and conduct. If you find it hard to get fi in tune, imagine that sol is the “goal” note and fi an embellishment of sol.

The presence of fi often implies the ti of a new key, whether this is a tonicization or an outright modulation. To prepare for our upcoming study of modulation, you should learn this excerpt two ways. The first time, sing the entire phrase in the key of D major. At the repeat, sing the part of the phrase that implies an A major tonicization using the solfege of A major (shown as the second line of text).

Melodies With Chromaticisms Approached By Step

Wolfgang Amadeus Mozart, Piano Concerto No. 20, I. 466, II. Romanze

Hélène Liebmann, Sonata for Cello and Piano Op. 11, I. Allegro

Wolfgang Amadeus Mozart, Clarinet Concerto K. 622, III. Rondo

Melodies With Chromaticisms Approached By Leap

If these excerpts initially seem difficult to sing, remember that the chromaticisms are intended as embellishments of the melody and harmony. Focus instead on the “signposts” of common chord patterns, and treat the chromatic tone as a stepping stone toward those harmonically important tones.

Johannes Brahms, Concerto for Violin and Cello Op. 102, II. Andante

Johannes Brahms, Piano Concerto No. 2 Op. 83, IV.Allegretto grazioso—Un poco più presto 

Wolfgang Amadeus Mozart, Symphony No. 33, K. 319, I. Allegro assai

Duets With Tonicizations

Practice with a partner and prepare both parts. Conduct and sing using solfege.

Joseph Haydn, Symphony No. 94 Hob. 1:94, II. Andante

Thomas Morley, “Now is the Month of Maying” (1595)