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.

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

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.