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Ear Training Appendix

Examples for Sight-counting and Sight-singing: Level 2

Chelsey Hamm and Levi Langolf

Key Takeaways

  • No new beat units, time signatures, or beat divisions are introduced in this chapter.
  • This chapter includes dotted rhythmic values that have a duration smaller than a full measure. (To review this topic see Notating Rhythm.)
  • A tie is a curved line that connects two or more notes with the same pitch. Tied-to notes are not rearticulated.
  • Dynamics and articulations are covered in this chapter. (To review this topic see Other Aspects of Notation.)
  • Melodies within this chapter include leaps of thirds, fourths, fifths, and octaves within the tonic triad.
  • This chapter includes two-part rhythms and two-part melodies.

This chapter builds upon the prior gradated rhythms and melodies. Previously studied meters and key signatures are included. Knowledge of dynamics, articulations, and phrase markings is assumed from the beginning of this chapter. All exercises are author-composed.

Section 4

The following eight exercises include dotted rhythmic values that do not have the duration of a full measure. Dynamic markings as well as crescendos and decrescendos are now included.

There are 8 rhythms that contain dotted rhythmic values that do not have the duration of a full measure. Dynamic markings as well as crescendos and decrescendos are also present.

The following two exercises include dotted rhythmic values that do not have the duration of a full measure.

There are 2 two-part rhythms that contain dotted rhythmic values that do not have the duration of a full measure. Dynamic markings as well as crescendos and decrescendos are also present.

The following four exercises are melodies in the major mode that include leaps of thirds and fourths within the tonic triad.

There are four melodies in the major mode that contain leaps within the tonic triad as well as dynamic markings.

The following four exercises are melodies in the minor mode that include leaps of thirds and fourths within the tonic triad.

There are four melodies in the minor mode that contain leaps within the tonic triad as well as dynamic markings.

The following two exercises are two-part melodies that include leaps of thirds and fourths within the tonic triad.

There are two two-part melodies that contain leaps within the tonic triad as well as dynamic markings.

Section 5

The following eight exercises are rhythms that include ties that are within measures. Articulations are now included.

There are eight rhythms that contain ties within measures as well as articulations.

The following two exercises are two-part rhythms that include ties that are within measures.

There are two two part rhythms that contain ties within measures.

The following four exercises are melodies in the major mode that include more frequent leaps of thirds and fourths within the tonic triad.

There are four melodies in the major mode that contain leaps within the tonic triad as well as dynamic and articulation markings.

The following four exercises are melodies in the minor mode that include more frequent leaps of thirds and fourths within the tonic triad.

There are four melodies in the minor mode that contain leaps within the tonic triad as well as dynamic and articulation markings.

The following two exercises are two-part melodies that include more frequent leaps of thirds and fourths within the tonic triad.

There are two two-part melodies that contain more frequent adjacent leaps within the tonic triad as well as dynamic and articulation markings.

Section 6

The following eight exercises are rhythms that include ties that extend across bar lines.

There are eight rhythms that contain ties within and between measures as well as articulations.

The following two exercises are two-part rhythms that include ties that extend across bar lines.

There are two two part rhythms that contain ties between measures.

The following four exercises are melodies in the major mode that include larger leaps of fifths and octaves within the tonic triad.

There are four melodies in the major mode that contain leaps of fifths and octaves within the tonic triad as well as dynamic and articulation markings.

The following four exercises are melodies in the minor mode that include larger leaps of fifths and octaves within the tonic triad.

There are four melodies in the minor mode that contain leaps of fifths and octaves within the tonic triad as well as dynamic and articulation markings.

The following two exercises are two-part melodies that include larger leaps of fifths and octaves within the tonic triad.

There are two two-part melodies that contain leaps of fifths and octaves within the tonic triad as well as dynamic markings and articulations.

 

Further Reading
  • Chenette, Timothy. 2022, “Aural Skills Pedagogy Research.” Foundations of Aural Skills. Pressbooks: https://uen.pressbooks.pub/auralskills/back-matter/aural-skills-pedagogy-research/.
  • ——. 2021. “What are the Truly Aural Skills?” Music Theory Online 27, no. 2: https://mtosmt.org/issues/mto.21.27.2/mto.21.27.2.chenette.html.
  • Chenette, Timothy, Stacey Davis, and Stanley Kleppinger. 2022. “A Critical Review of Current Aural Skill Materials and Pedagogical Practices.” Journal of Music Theory Pedagogy 36, 6: https://digitalcollections.lipscomb.edu/jmtp/vol36/iss1/6.
  • Cleland, Kent and Paul Fleet. 2021. The Routledge Companion to Aural Skills Pedagogy. New York: Routledge.
  • Floyd, Eva G. and Marshall A. Haning. 2014. “Sight-Singing Pedagogy: A Context Analysis of Choral Methods Textbooks.” Journal of Music Teacher Education 25, no. 1: 11–22.
  • Karpinski, Gary. 2021. Manual for Ear Training and Sight Singing. New York: Norton.
  • ——. 2000. Aural Skills Acquisition. New York: Oxford.
  • Kleppinger, Stanley. 2017. “Practical and Philosophical Reflections Regarding Aural Skills Assessment.” Indiana Theory Review 33, nos. 1–2: 153–182.
  • Rogers, Nancy and Robert W. Ottman. 2021. Music for Sight Singing. London: Pearson.
  • Urist, Diane J. 2016. The Moving Body in the Aural Skills Classroom: a Eurhythmics Based Approach. New York: Oxford.
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Open Music Theory Copyright © 2023 by Mark Gotham; Kyle Gullings; Chelsey Hamm; Bryn Hughes; Brian Jarvis; Megan Lavengood; and John Peterson is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License, except where otherwise noted.

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