Music for Sight Singing

About our authors Nancy Rogers is an Associate Professor of Music Theory at Florida State University. With research interests including music cognition and its pedagogical implications, Dr. Rogers has presented papers at national and international conferences, including meetings of the Society for Music Theory, the Society for Music Perception and Cognition, the International Conference on Music Perception and Cognition, and the Conference on Interdisciplinary Musicology. She was a keynote speaker at the 2009 Musical Ear conference held at Indiana University. Several of her recent publications may be found in Music Theory Online, the Journal of Music Theory Pedagogy and Em Pauta.Professor Rogers received her PhD in music theory from the Eastman School of Music; she is also a Mellon Fellow in the Humanities. She has served as President of Music Theory Southeast, Secretary of the Society for Music Theory and Treasurer of Music Theory Midwest. Before coming to Florida State University, she served on the faculties of Northwestern University, the University of Iowa and Lawrence University.

• Brief Contents PART I MELODY: DIATONIC INTERVALS RHYTHM: DIVISION OF THE BEAT RHYTHM: Simple Meters; The Beat and Its Division into Two PartsMELODY: Stepwise Melodies, Major KeysRHYTHM: Simple Meters; The Beat and Its Division into Two PartsMELODY: Leaps within the Tonic Triad, Major KeysRHYTHM: Simple MetersMELODY: Leaps within the Tonic Triad, Major KeysRHYTHM: Compound Meters; The Beat and Its Division into Three PartsMELODY: Minor Keys; Leaps within the Tonic TriadRHYTHM: Simple and Compound MetersMELODY: Leaps within the Dominant Triad (V); Major and Minor KeysRHYTHM: Simple and Compound MetersTHE C CLEFS: Alto and Tenor ClefsMELODY: Further Use of Diatonic LeapsRHYTHM: Simple and Compound MetersMELODY: Leaps within the Dominant Seventh Chord (V7); Other Diatonic Seventh LeapsRHYTHM: Simple and Compound MetersPART II MELODY: DIATONIC INTERVALS RHYTHM: SUBDIVISION OF THE BEAT RHYTHM: The Subdivision of the Beat: The Simple Beat into Four Parts, The Compound Beat into Six PartsMELODY: Leaps within the Tonic and Dominant TriadsRHYTHM: Subdivision in Simple and Compound MetersMELODY: Further Use of Diatonic LeapsRHYTHM: Subdivision in Simple and Compound MetersPART III MELODY: CHROMATICISM RHYTHM: FURTHER RHYTHMIC PRACTICES RHYTHM and MELODY: SyncopationRHYTHM and MELODY: Triplet Division of Undotted Note Values; Duplet Division of Dotted Note ValuesMELODY: Chromaticism (I): Chromatic Embellishing Tones; Tonicizing the Dominant; Modulation to the Key of the Dominant or the Relative MajorMELODY: Chromaticism (II): Tonicization of Any Diatonic Triad; Modulation to Any Closely Related KeyRHYTHM and MELODY: Changing Meter Signatures; The Hemiola; Less Common Meter SignaturesRHYTHM and MELODY: Further Subdivision of the Beat; Notation in Slow TempiMELODY: Chromaticism (III): Additional Uses of Chromatic Tones; Remote ModulationPART IV THE DIATONIC MODES AND RECENT MUSIC MELODY: The Diatonic ModesRHYTHM and MELODY: The Twentieth and Twenty-First CenturiesAPPENDIX A: RHYTHM SOLMIZATION APPENDIX B: PITCH SOLMIZATION APPENDIX C: MUSICAL TERMS