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See Sample Pages sample 2 Table Of Contents Guide for the Effective Use of this book ..................................................................................... 3 Rhythm Practice #1 – Getting started ......................................................................................... 4 Pitch Practice #1 – Tonic Triad in the Key of F........................................................................... 5 Rhythm Practice #2 – Quarter, Half and Whole notes in , and ............................................ 6 Pitch Practice #2 – Tonic Triad in the Key of G .......................................................................... 7 Rhythm Practice #3 – Dotted Half, Half and Quarter notes in and ....................................... 8 Pitch Practice #3 – Do, Re, Mi, Fa, Sol in F................................................................................ 9 Rhythm Practice #4 - Dotted Half, Half, Quarter notes in , and ........................................ 10 Pitch Practice #4 – Do, Re, Mi, Fa, Sol in G ............................................................................. 11 Rhythm Practice #5 – Adding Quarter rests .............................................................................. 12 Pitch Practice #5 – Do, Ti, La, Sol in F ..................................................................................... 13 Rhythm Practice #6 – Addition of Half rests............................................................................ 14 Pitch Practice #6 – Do, Ti, La, Sol in G..................................................................................... 15 Rhythm Practice #7 – More Quarter and Half rests................................................................... 16 Rhythm Practice #8 – Eighth notes............................................................................................ 17 Rhythm Chart............................................................................................................................. 18 Rhythm Practice #9 – Adding Quarter rests to Eighth notes and Anacrusis.............................. 19 *Sight Reading Practice #1 - Tonic Triad in F in .................................................................... 20 *Sight Reading Practice #2 – Tonic Triad in G in ................................................................ 21 *Sight Reading Practice #3 – Tonic Triad in F in ..................................................................... 22 *Sight Reading Practice #4 – Tonic Triad in G in .................................................................. 23 *Sight Reading Practice #5 – Do, Re, Mi, Fa, Sol in F in ........................................................ 24 *Sight Reading Practice #6 – Do, Re, Mi, Fa, Sol in G in ..................................................... 25 *Sight Reading Practice #7 – Adding quarter rests and stepwise pitches below Do in F in .......... 26 *Sight Reading Practice #8 – Adding quarter rests and stepwise pitches below Do in G in .... 27 Sight Reading Practice #9 – Do-Fa skip in F and G.................................................................. 28 Sight Reading Practice #10 – Do, Ti, La, Sol in F and G in and ........................................ 29 Sight Reading Practice #11 – Adding eighth notes in F in and .............................................. 30 Sight Reading Practice #12 – Adding eighth notes in G in and ........................................... 31 Sight Reading Practice #13 – Do-Sol and Do-La skips in F in and ....................................... 32 Sight Reading Practice #14 – Do-Sol and Do-La skips in G in and .................................... 33 Sight Reading Practice #15 – Adding High La in F in and .................................................... 34 Sight Reading Practice #16 – Adding High La in G in and ................................................. 35 Sight Reading Practice #17 – Key of C ..................................................................................... 36 Sight Reading Practice #18 – More Key of C............................................................................ 37 Sight Reading Practice #19 – Additional practice in F, G, and C.............................................. 38 Sight Reading Practice #20 – Additional practice in F, G, and C.............................................. 39 Sight Reading Practice #21 – Additional practice in F, G, and C.............................................. 40 Sight Reading Practice #22 – Skips within the V chord in F and G.......................................... 41 *Sight Reading Practice #23 – Key of F in and ..................................................................... 42 *Sight Reading Practice #24 – Key of G in and ................................................................ 43 *Sight Reading Practice #25 – More Key of F practice ............................................................ 44 *Sight Reading Practice #26 – More Key of G practice............................................................ 45 *Sight Reading Practice #27 – 8 measure (2 line) examples in F ............................................. 46 *Sight Reading Practice #28 – 8 measure (2 line) examples in G............................................ .47 Sight Reading Practice #29 – 2 part examples in F and G......................................................... 48 sample* denotes pages with examples that may be performed together ISBN 978-0-8258-9428-2 © 2014 BriLee Music Publishing Co. All Rights Reserved Printed in U. S. A. NOTE: Simply put, copying this music without written permission of the publisher is prohibited. BLB009 3 A Guide For The Effective Use Of This Book The authors of this book have chosen not to endorse a particular system for rhythm counting or pitch syllables. They recommend that you as a teacher establish a system for rhythm counting (Ex: 1 te 2 te 3 te 4 te) and for pitch syllables (Ex: DO RE MI FA SOL) that works best for you and your students. If you use solfege, the authors advise that you also utilize the Curwen handsigns with sight reading. BEFORE YOU BEGIN: an entire page of pitch for several days. Plan to do a little of s The ability to keep a steady beat is a prerequisite for reading both each day until you reach the pages where rhythm and written rhythm exercises. Some examples of how to teach pitch are combined. When you get to the end of a page, try steady beat include tapping or clapping the beat to a recorded reading the entire page without stopping to build student piece of music as a class or having students echo your claps or concentration and endurance. taps on simple rhythm patterns. s Rhythm reading almost always moves faster than pitch s The ability to match pitch is a prerequisite for performing reading. Studies show that the general population has a written pitch exercises. Some examples of how to teach pitch higher aptitude for rhythm over pitch. At the beginning, do matching include exploring the difference between speaking not be concerned that your students are moving faster on and singing voice, finding a pitch a struggling student can rhythm reading because eventually, pitch reading will “catch match and moving out from that pitch to other parts of his/ up”. Rhythms for additional practice can be found in the her voice, finding falsetto/head voice by echoing sirens and supplemental Rhythm Reader (BL836). yawn-sighs, and echo singing simple pitch patterns. s Teaching your students to sing phrases (by not allowing a s The authors believe audiation is important for successful sight breath after every note that is longer than one beat) will add reading. Practice audiation by singing a pitch pattern, having musicality to their sight reading. Start by singing two measure students “think sing” the echo of that pattern (with handsigns phrases, and gradually increase to singing four measure if you use them), then immediately having students sing the phrases. Taking a breath after each longer note often causes pattern aloud. students to rush the tempo and makes it difficult to discern melodic and harmonic patterns. s If using Curwen handsigns with solfege, consider teaching students to move the handsigns in the same direction as the s Repeat exercises when necessary for mastery. Be creative! pitches for kinesthetic learning. A good rule to follow is “Do is Read the same exercise forward then backward to maximize waist high, Mi is shoulder high and Sol is head high.” use of materials. s Use this book to help you establish a time frame for your BEGINNING TO SIGHT READ: teaching. Decide where you need to be at a certain time of s Daily sight reading practice in small amounts is effective. year and plan accordingly. Daily reinforcement produces strong musical reading skills. Establish a clear procedure for daily sight reading: SIGHT READING WITH TENOR-BASS OR MIXED CHOIRS: Determine meter, key, tonic chord and starting pitch. s The printed keys in the book may not work when teaching Students should sing tonic triad and beginning pitch prior to boys with changing voices while practicing unison lines. The singing each exercise. authors suggest changing the starting pitch to B­, A or A­ or any key that best fits the ranges of your singers when singing The director should count off the students (verbally or with unison lines with boys. Experiment until you find a key that is a conducting pattern) before they sing the exercise. comfortable. The “comfortable key” will likely change with s Remember the speed at which the trained adult musician can the ranges
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