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

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.

Table of Contents:
Preface 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 Appendices Appendix A Glossary of Non-English Musical Terms Appendix B Using Your Voice: Suggestions for Vocal Production for Non-singers Index of Literature Examples Credits

About the Author :
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.