Lacqast . 7 : Sight Reading "ofthe sil discussed ia the preceding shaper ate jus as easly and in some ways beer} itroduced and practiced before nation fas been employed in che aural skills sequence, It much evs to sew ily and vemedy dfcalies with shese sill nthe absence ofthe vaca inttoduees by reading and saterpreung notation. ‘Buc row iis time to addess che sues valved i sight ending from setual music notation. Let us begin with some Banc procedures tha have proven ob eel bln centing nh render els che Scanning Music before Sight Reading Globe Poromeses ciswise to develop the bait of sat by ong onto he lol ‘norman ta appear ase begining oe meal a One con Sa hs nfrmacon soho he ode which appears {© cht samen ce and anpsion i pple), key Sense mee nd ene. If pase bled wth the name fan insane, seades mast be agnor of wheter 2 aspen naman 8 nposten Iga nse be above esl fo tals inher cae ages ust make adusinets scorn pinay reading on fixed-do or letter names). nein lhoeh tay sem ether reentrant ake sot of te pied eet before begining a sg rb ceaily moro Sear of forstaents to begin vending in she wrong ce eve if the sure sve arrested oon ble and bas ll When fre les ae enconteced all he ore mpria tasers the Ce with explicit comprehension (pechaps even to speak its name aloud ror cle). In his manner, one ean avoid the time and ellore waste in becoming ovtented tothe music on the wrong lel and liminte th need co ualeacn that incorrect onentaton and lean the prope oe “The nex global symbel—the key sgnature—u amore complex enti har we commoaly refer to as 2 "key" signatute doesnot represen: key aval Instead, ic epresents a specific diatonic cllction—che rae sheep collection, fo example. Pur another way, 2 key signature tls om! ‘which lecer clasts are to Be played natural shacp, ot fat. No ey 5 stare lone can represent» Key, because “key” i. esl of he conf face ol twa fetors (1) diatonic collecuon and (2) one Whereas adi ‘onic eolection can be determined by a "key" signature a ton i th fesult ofthe teporal and strvcurs ordering ofthe pitches in chat co leccon inthis way, a ingle "key" signature may precede any of te keys [major and minor or five cher moder, which are smlaely produc ‘lth conflence of diatoni collection and conic or fil! With thi 1 ‘mind iss posible wo noe the key signature atthe opening of 2 pece an ‘Know the diatonic collection ibaringfuncuoaalcheomatcakerations¢ {hae cella), bu determining the conic and therefore che key) involve ‘move sophisniates inrexpretation of he pices, meter, sna chythm of Ini. Sttcrrsl connections between pitcher that form domiaaaé an Teasing-rone relationship to another pitch ae paiclaly indicative « ‘onic fonction ‘Once the fone has been determined, an inportant sep is locating tt ‘onic onthe staff ab point of relerence. As Fletcher (1957) observe The tonal centers denied wit a specifi stalocation at the bepinni held in mind during the entice decoding (ending) procedure pein of eerence by which the ambiguities inthe wsul code oottin ac tesolved” (p. 82. Readers use the locaton ofthe toni 252 fond iment pone of relerece from which to decipher the tal meanings Dich stvcuces inthe notation Having idenafied the diatonic collection and conic, readers should > pliely carryout she proceduces necessary 10 extblsh each ofthese ps [meters in their minds (ee the outline ofthese procedure in the sco of chapter 6 tiled "Establishing Collection and Tone" Sila preparatory attention ust be pd to the mete sig, le me lveimmediately assessed as to wheter i epeesent simple or ompoun 1 See he dation cape 2 ander “Manon f Pith Calls” a Theta of ro ky and fot modes mi any gen doi clecton ‘rats, ce eto suber f de et tone” orf here ate vray, probaly a mn’ Fo custo62 Rady ond Pf retes, Subsequent ro that, the number of beats per measure must be registered. Firlly, the readec must consider whether the beat shoulé be subdivided. If spplicale the sppropriae conducting pater mus be chosen The wo modern abbreviated symbole for meter signs that have su sived from the mensural system, € and must be interpreced propel Many inexperienced ceaders harbor the notion tat €snicates tee sore performed twice as fst, 0 that half notes, cather than quaters become beat units, Although € nde origins inthe mensurl sytem of ropoctins, ts common-practie-period meaning is much mote diverse Fist, according to George Houles well documented study, Meter ix Musi: 1600-1800, the precise meanings of the mensuation sgn that survived inte the eighteenth eencury “varied depending onthe sete. lations to ane another. In some cases, in contatt fo, meant 2 21 ‘hange of empo, in others, merely» fare tempo not necssarl in the tao of 2:1." Some eheoists—notbly French writers—did ot interpret ‘he sign as eepresencng atime relationship a all Houle 1987, $7). And 4 meter signs and tempo indications took on camplesly independent ‘oles during the subsequent centuries, the signs € and € lot their ality ‘0 indicate eltive speed, Because of ths, modera cess should think ‘of € (hen 1 fepreseas 21s 2 family with and other simple duple ‘neers, not 2 sme haved, doublespeed version of Second although some writers a¢ some points held that ¢ indicated ‘vorbent measure and a fourbeat measure, che symbol ¢ ha never cachsively represented duple meter Many twenteincentry trans ‘ions of menral aration use #0 represen. Common practieperiod notation uses it his way a well For example he symbol repesets in the Esmajor Fugue from book 2 of Bach's Wel Tempered Clavier ad in Der GerechtenSelen sind in Gortes Haag” and “Her, du bist word in Brahms German Requiem [ro pick one representative composition fiom each of two differen eenucie) Finally, sme ections and tat Senpions thar use the symbol € forgo bar lites alrgether or vse them ‘onl o indicate phrase divisions. Examples ofthis ype often Ill ito the hands of students: se ehe chorale setungs by Christoph Peter and Fans Leo Hassler in Burkhart (1998, 555056 $57-$9) and Michael Praetorius’ seting of “Es iat ein" Roe entsprngen” in DeVoo (1992, ‘The only thing = modecn ceader can depend on when acing the vat body of Westen musi that indieats eh the half nove willbe worth foe ben; the specific meter must be inferced from she musical coment, Modern music readers who wish eo be prepaced for such > varity of 'nerpetacions for € must come co understand its various meanings let its one cecainty (that the half note i he beat uni) and practi many Iusical excepts that showcase ints vations meanings Considering she variety of best units of which composers have availed themelves, is impocant for masc readers to have much experience Sig Redog tn With Beat ants ha ange at least rm the all noe Hough he seen note and with + variety of temp that vary independently of thee ea nas. A word abou ce interaction between beat uni ahd tempo twa ‘ved ere, For some time, a convention was held over fom mensors notation ingo modern mecne notation “thar malle notes weve performs. faster and leger notes were pefonmed slower” (Houle 197, 2). Nota tonal practice over subsequent centuries made hat notion archaic ‘hough sepaction of functions: meter signe to represent inter a beat uni rempo indications oc metconome makings to vepeesent sped (One need only compare the clave speeds of whole nots ia the fal of Beethovens ith Symphony, mm. 362f (Presto; o=#2) and doce: tighth notes isthe aria fom Beetnoven' Pano Sonata, Op. 11 (Ads 0 molto, = eat see the madeon disocaton of note values or speed “The skills involved in executing rhythms depend upon the values © the nots lative ro the prevailing beat unc. Coasider the eighth now for example It is one haf ofa bet long ia 8 mecer,rwo beats long in meer, vostids ofa beat long in meer, and s on. The sil require (o read and periorm there dilterent meanings ate quite distin: fom on another and shoul be leened sepacatlyrouped by function rls to beat duravons rather chan by specific ehythm symbols thatthe ‘may be dest with separately when sight-eadig “The final global symbol at che opering ofa composition isthe rempc “Ths ean take one or both of wo forms: a verbal ndieation of tempo, ¢ 4 metzonoae making. In he Best ease, st incumbent on readers ¢ ineypet te tempo umplied by the pened words. As discussed in chapee 1, some ofthese indications ace more specie than others. Such impe Cision noreithsanding,seaders should choose an appropriate seed bast fon the cempo indicaion (aking into account historia syste consi ‘rations and the character of he music o which capi) Inthe secon ‘ae, ceaders must beable ro-recall or eynhesine specif temph within Felsively small margin of olerane. For example, # the tempo inciesto reads "e100," then readers must be ble to extablish 3 tempo rough SLIT Gocr nal to td tt wha 0060 od pts $a one eum cope the mane of Groat Crom Fe gal ined orn tee theater by be neon then te pee os ‘renga top. mbt sn rd conpown et Sec yin Jhonny ne th ee aed a 9162 Rang and fing Shi inthe region berweenabour 92 ane 108 beats per minute. Forth 8 hep 19 memorize several ceprevencacive compositions at tempo, each of which embodies «spec rietronome marin from these, one ca tka obcain other temp through doubling and halving speeds. No matte Uahetbec tempo is indicated verbally or thecugh MM. marking, readers ‘nustfumly eablih » steady vempo ia thew minds belore bepianing co Sing and mains that tempo as they scully begin co sing, aking hanges in emp only for scaly expressive feasons or in response co (Obviously, any changes co these global parameters (for example, 2 change of clef or meter) must be accounted for in advance of encoun tering them in cea! time, Readers should scan the mune for nich changes and make note of cher location and function before beginning tose ig Placement of Sale Degies on Saf Stareng Pach (Once the clef and key signature have been atcertined, readers should vent themselves tnally by mentally locating the scale degrees the Stall ia tha ele, Ths process can begin wh eating the cone ns postions) on the stall. A prudent next ep involves placement ofthe Inembert of the cone tid on the ea, With chese postions Hey ed ‘ming, eaders can ute them cference pownte while snging—they sccount for thee of she even dhatonie ptehet, and none of she other Seale degees wil ever be mare than a sigle step away feom one of them Pethape it should go without sapng, but they sce alto miporane pointe fof tonl serial and deparacesn most music [An exrs moment should be taken 3t this tne 19 locate the starting Pech withthe seledepre svcture thus etaihed. Avast matty ‘St excespts begin on 4 member ofthe toni iad. There ae few tha begin eiseehee. Some begin on embellishments of members ofthe nic trad for example, Mozart, Symphony No. 40, mm. 1, Best theme (3 5 and Haydn, Symphony No.9, rat. 1, second theme [T whereas others begin ently ot-tnie or example, ee opening ofthe Violin putin the Bet movernent of Feasek's Santa in 2 major foe Violin and Piano [e442 7G 3-4] as shown ip Example 215). In any case reader shouldbe able ro auealie stating pth in selaian tothe sane before singing won hn lhe empath a et Sige heyy 16) ange ond Taso isan ofthe pitches should alo yield the highest and lowest Ro les soul be owae al the on von! ones and abet immonieey. ove moran te gee est a he sage soul be assed ariclcly than ef owac he ine 2 Faerechch the members of she cone road wil i within that RAE Oi faeelas mere ow tone toned releence On sedye wth essa: Docs {or te lowes bounds, 0 ek ec penaps 3 Does the mas span ee cave above ths lower dear caesar ic onlytevese fourth or thor pebaps extend even seen the etre? The answers such questions have profound imp sen ar how one goes abou feamang the coral and sale erect Sr acu ees of 307 porta passage” Rapeion Sigs ioe singing. cadets mus take noe of ay ception signs ms SOR be mane ine mening: of aoe gs, etn shes HELIN ange ten, sces wth oor reeting enti esr aerate the ends tnd tepong) of passages, and sso0e Tete Minos neers of Se Loo, del sano fe rire ett esc shuld think wie efor ectng ude eee peat corer fepion BN 2 90 erer fonds eeding nd ssi be ineeted nt pepe ‘Mts siapng a sng 25h “mab Avery wr nex step involves “miming” through the mesic “Mum bling” n ths context eles cos kind of cpid reading hat stands some tahere berween freely scanning out of Sequence on the one hand an Teacing sevely in val cane onthe thet Its main goal i 0 poiat ut {Slient aspects of pth that wil provide anchor pins along the way an: Felp to keep the acu ight singing moving a smoothly a5 possible64 Nasg ond Pong Ste xample 7.2. Orman, Mie for Si Singin, 4 ed, 0370 ‘Above all when mumbling one should pay particular attention to serytural piches uch a5 chose at beginnings and endiags of phrases, high ‘nd low goin, and any special figures suchas sequence, turnarounds, tupestiaons, and the like. Especially siking or challenging aspects of ‘hyehm shoul lz be noted lchough mumbling ser Yo be most pr ‘euley suited co aspects of pitch, 'Ac Bes, mumbling canbe practiced on simple excerss that maintain single cle, key, and mets. Later, it may incogporate sch featores at ‘modulations, meer change, clef changes, and 50 on, ‘An Example [AS an example ofthe kinds of things presented inchs chapte hus far Consider she sghsingng excerpt fom Robert Ocman’s Music for Sight ‘Singing (Oren 1996) shown im Example 7.1. relimiaay observations ofthe lobal sbols in ths excerpt might proceed as follows “Ticble cles one hacp in theca cepresenting E minor estan sng foc meter, 9 tempo indication “Tonal and cepa obsecvaions would inlide thee “Tonic on the fist ne and fureh space; toni iad on the Fist chee line begins ones moe inthe EX-ES [= octave, dip down {0} below athe end [A bref mumbling session for this rune might go something ke this: Stare on skip co descend o 5, sip co {shove start next phrase fon T and end it on ¥ stare rene phase on J; end on #008 Silt Resto 65 A mocedeciled mumbling session for this tune might include the follow ing Scale {0 3, sup 10 @ [NBs noe 3) scale down 08: ship 10 bore; lower esghbor and back 10 | ship to 3 sale down co 2; Ship 310 fy sip down to low [NB not 3 end on 8. This more detailed mumbling might stm at fst like nothing moce than Simple “performance” of the music. However, in practice this kind of éucated mumbling can be cried ut gute rapidly 4ad with exceptional benef Eye Moverens [Although ye movements daring sight eacing ce dscosaed a length ater {nhs chaper rete tection ted “Vinuat Tracking") ii important ‘this jnetue 1 note the kinds of eye movemens expert readers use while scanning mesic without performing i. Watecs and Underwood (0908) found that expert readect ase more and quicker eye fixations for fone specif typeof nonpesforming muse-readng tsk patern marching erweea co socesivey presented melodic fragment). There ae at est two resonable explanations forthe diference: (1) experts understand mote about she musical srucrore they seein notation and comprehend those stactuces mare quick, and (2) experts have developed mote epié tye movements as 4 succesful sil in and of self. These explanations Poneto wo stotepes tat should improve sent musi reading: (0 be ome more knowledgeable about muneal stectures and moze efficient a fecopsizing them rapily and (2) develop the skil of seanning music as ‘rapid a5 possible" Interval and Seale-Degive Strategies Sighe-siaging taining that uses ervals has exited for a last a entry Bannihaues 891) includes “exercises fr intonng he teva" eg 0 1 pp 71, Cole and Lewis (1909) progeesies trom stepwise melodies rough those that contain skips of ieresingly larger tnervals. Ader ‘eli superior fe readings : avout mae ype ble afarmaron Col e panel tog eth how bean span ol Bop ein versa new ees cre,» ae om(1997) contains “specially composed melodies forthe peace of pati: ‘ae iterval “There ate many proponeats of facuning un cale-spice approaches sight singing. Fletcher (1957| dscused the use of bath interval 20d ‘cole cece nformation “Each suecesive fone sng must be rete not Cnly tothe previous one but co # tor! order of tones, 2 patterning of {tonal enter” and, “Ie is only when the Stat-code repeeseneation of a8 lovers efeced ts someting beyond the salf-code—eheronileation and al fs mphcatone of teationalwsage—that the ambiguity [of no tation] maybe ceolved (p42 Jers (1966) aed sgnmngr mi ead ing systems tat bepin wich 4 mare or ess sbsract susy of sera, “These ely provide elfcient results There aero ressons forth Fs the chaser of the snerval changes according 0 place inthe Zonal ont Second, the itera! consists suvorinated dea nay mu Seal sequence. Whie reading msc Suck ‘omit’ deta wll aly be peceived” Ip. 3. Rogers (184) notes that "mes stents—especlly ‘hove ceading by ineral-—petoem a score with theve ages £00 clo 16 the note, ehzeby Toning eight of the fore forthe ster” (p19) apd he lanetionsl method ia nging tonal melodies oer 3 coreetve to over-eiance on interval. Sensiiy to seale-degiee tendencies snes Tensions, and development of tonal beasings provides mare musical Senseo phrase and the long lise. One problem wih te terval spoeaach to heacig is chat ic views sighsinging as a skill ro be acquied {ve becoming accurate ar eproducing notated pitches and chy) cater than sr means of gathering valuable information abou how musi tell works" fp. 131), "Much ofthis correlates with the Findings chapters 2 and 3 abou ine and fanetonal approaches to listening and with hose i cha ter 6 about conal onencation. Therelore, the remainder of ths eater rakes 3 ronaly functional approach to ceading pitch Solmiation Systems for Sight Reading Tronovng Paces ise Stabler For readers vig a solmization system, one ofthe eat 2 be carved out in eel omedsresnlaring pies to slabs shal adds this proces in each of to broad eategores of solmiaaton xed pusienamng 8 tems and movable sesle-degree systems 1 Theft io lS Sig Ph, Ire, Ryton seed lose Sige Reng 187 When ving a Bxed sstem—for example, leer names or fxeddo— ‘he task 3 hand is reading the pees a ce lines and spaces within the Gpeiaive clef an assigning the appropiate latele on the Osis of tae fending, This requires readecs hk i the ce, continually eending the lines ond spaces ss ndividual ote nares. When renders act wig leer ‘anes, the follows dhe simple mater of articulating he pitches on chose ames, othe Sxed systems (most notably Rued-do) cequie readers co Ronse the note nares ino their covresponding sylables, 3 Teast wot racers become fitent at naming pitches dee through these syllables. ‘The exigencies of Fixed systems ate therefore gute appropriate for de ‘eloping and attesting sh skills 3¢ cle! reading and transposition (ab Cdacuaed in chaper 8 Movable systems-—do-conic movabledo and numbes—requre read sta rea sale degrees elative fo the tonic onthe staff Ths can eake tne of two asi frm [1 zeading the pitches on the staff within the Drevling cle and then tansating them ino tale degree syllables by ‘elsng them the conic an (2) seeking pateens of functional shapes bn an exencllygenercliy conceived stall. The former procedure is pe haps more cumberrome, since snvolves a twostage tCaslation ro ess The ater et Gmpleny but it has ehe disadvantage of ecu ‘enving the valuable race of fending ined pitch names inspec ces Ia Sctualiy, most practiners of movable eytems employ 2 combiaaton Gl these spproace, sifting beween the two systems on the fy depend fg upon the musica auctor of specie postages and Now that ies vith thle own msical knowledge. In either cast, movable scale-degree ‘peters involve the mind in reading and thinking in scale degrees and ‘onal funtion Both apotoashesfxed pech-naming and movable scae-deprees—aze cxcemely valuable, Bodh have Been shown c@ be useful and productive ver centuries of ue. There has, however, been & long and sometimes crimoniout debate beoween pracotionedacvocater of these (wo 3p prouches co solimiaton.™ Without rehashing the enti debate yet agai, "eis imporeane co note the Fllowing far boeb sides make some valid frgumenes i fuor of using ther respecte systems. Advocates ofthe Fixed peck naming approach often point ro improvements n clef reading tnd stansposiuon, advocates of the saledegree appcoseh Feuer sea he egos ote ead i df ane sn efor eae cl undeandiogromprekenig both sale pits and for fonsgon Pemny Sb invoke the inculeation of functional easing and reading and ober atten dane benefit, The lst of poteneal Genes fom each typeof system 89 face quite lng. The logical conclusion from allthis tf ute bork kinds of sytems Several pairings of various specie fixed and movable systems are possible For example, one might design a cuticlum using movable do for funcional hearing and ceading concuereniy with leer names oc reading and naming actual pitcher. In another sample pang, sale Aegeee numbers can be used #0 reprevent fonctions while Frenchy sollige stands infor pich naming. But a6 discussed in chapter 3, one eneal caveat inorder simi labels should not be used forthe ppeoaches. “The choice of solmiaton systems for pith is an important one, with forreachingcamieatins. Most important, the choice should be well informed, based on empicl ctera that epatd the specie mu sical features modeled and sstilled by each system” Above all ll pe sgoqoersuta sil inservtocs, tudo ceachers, conductors al— ‘ould sve invoking eetionalaatons sack aT was erined that way” tnd instead make cational decnions about solmation on the bass of ‘what we know about how musician lea and speifcally what we Want them cls. Regardless of which systems ate used, it is crucial hac seudensrectve ‘adequate amounts of dil and practice in thei se Ina loose enlogy to the leer of the alphabet, in order 10 lear solmiacion (not mee be ‘expored tot) one must invert the equivalent of the hoses, dys, wee, ‘months, and yees young children spend on learning the alphabeieei: tng singing the “Alphaber Song” recognizing eters wong leters, socitng ther vacious phonic vncaroatons, and practicing eading, ‘wean, and spelling constantly So, too, must students a solmation be Indostnoaed, though vepection and memorization of pch parerns scales, sequential, melodies, chocd apeggiations, and oxher actos de Signed eo ingraia various mental stociatons between solmistin sls Des aad these musical meanings. A halearted “exposure” ro solmzation loether halfaeared on the part of dents or intrtors) probably wore than no solmization at all For sight singers who are nt facet With solmastion sjllables ace an impediment, not ang eis adurbie to buy ino solmaation wholeheartedly or nota al, promt hh ey teed ae pronen amber of ccl seinen. For eam ore ae Eosnan etal Mune, lcs Cale he Une of Manche Satna te Universe of Oren among est hove eed seen ah Syn uae a ens pr ive Sigh Reding ing Tanlatng Rbyehes so Spllbles Rhythmic solmaation can be just a8 beneficial at itch systems. Please fel tothe discussions of eythm solmarion in chapree 3 fora sao Gucion these system Functional systems, chief among them Takadimi, mode! che metcic postions of atack points. They require that cadets underiand she pro portional mete values of the notes and ress ae they cad, Funcioal systems ate paticlaly atcactve since they vse uniform label for spe ‘ic hye patterns (and thus for ideally performed muse) eg Jes oftheir iletent notational inesnatons within various mets signs [Notation-ovented chythm slauzatonsyems atch specifi labels 0 Individual chyehmue symbols, egsrdlee of thee funevon within any given ner sign. Such direc symbol amsing has sme aefolnet in he ceasing of sewal note symbols but ao diet relationship to the rhythmic and ‘mete proportions thor symbole cepetet. ‘Regardless ofthe kind of ehythmicsolmization employed, pactiion 1s must work te become at Buent in tat in pitch solmiantion, As be fore, a hala eifor wil only result in annoyance and hindered performances. But those Suent in rhythm syllables wil Gd shat they Unlock the door to 2 level of rhythmic understanding and facliy of teat power Conelon Finally ic should be noted ha solaization systems al compere for egret hough the same verbal channel eis obvious (But no lst 2 pelle for "a thar oniy one system may be performed by any one musician a ay ven tne. Thus, eachers who wish o explicitly develop, sy, «specie Elebteading skill sense of 2 particular harmonic fanevon, and aention toa cena eyehme pater, all through a single exert, ight consider sssiging tha exercise thee times using three different solmiaation ey tems (1) eed pitch naming stem, 2) 2 movable real depres sate, nd (3) sytem of rhyehmicsolmiation, Equally elective, ad perhaps times more manageable s the asignment of separate terse that ‘e ndviualsolmaation systems chosen so highlight ad ifminate par eule Feature ander study atthe ce. Intonation Chapter 2 examined intonation in great detail 3¢ manifested in matching ‘ndividual pitches, Much of what covered cece generaly applicable70 Rang ant Ffuming She to intonation in melodies, but hese ae some Further considerations when inronaion operates in tonal contents “There are (least ewe iad of tonal intonation problems: (1) dose that involve the Key itsel, wherein the tonal center shite or ently los; and (2) those that involve indvideal pices within a hey wile the ey remains anallected, Let as aes each ofthese in tare The Key Doubtless the more sevee of she wo broad varieties of intonation ef cules, losing the key ie serious musial teansgresin, Infractions of fis vanity often esul in a complete breakdown of pitch ceading (a ‘hough exces so acted occasionally do manage a etabih some new rol center seemingly out of thin ach, Ofe she empraion v0 Foeue fn the very spot where the rouble began and ate 9 cortet spec pitches thee. This is typeally dove hoping that sone ges ove that ough spor che catastrophe will noe ecu Unfortanatly i usvally doce. ‘Musciansafced with this tye of inonational malady have @ much deeper, mote general deficiency to remedy. “A quick and obvious teste determine f readers have deed lot the ‘onieiawolves asking tha they sing the oni ich alter suck a nkegction das eecured Ie willbe immediately apparent whether hey bave etaited thar allimpocane celerence sch Readets who lose the oni ca reap great benefs fom following fexercine, Whatever the musical matedalscaler, sequen, excerpt from she leraure—dhey shoud be instructed to pause at cegulte ner ale of time and sing the conic pitch At fir, these srerals shoal be fon the order of = few pitches (pechaps every measure or every hal measure; lates, she ceaders ean progress r0 pausing a longer inervals Iperhaps a the Begining of every phessel. Musicians who practice uring ths procedave usualy see vast improvements in clatiely Shor pci “Those wha cannot execute this el often requiee 3 preliminary exer cise: spending hall chev aul skills practice time playing = tome drone fon the piano (or other suitable insteumene) while singing exercises and excep, eopping often to listen tothe done and to sing is pitch. Ox Easionally some find that a cnicdominaar drone is even more bef Ineuher case, readers must progress 2¢ some point fom drove playing, Iauan te Wapick, Bursa, and Sampson 196% for expesmentl eiesce of hs aoa pone 3 moe pl re 0 reece pt wih onan an be to the ronic-epettion exercise described previous, and ally 0 9 new rascal lie of ral ariemation. Indeed, these exercises serve (0 infuse resders wu a Sense ofthe conic 50 that they can eee cot chroughout very measure of every performance Packer within @ Kay ‘The scond sary of sntonation problem is perhaps less sevee but lst ar umponans to diagnose and remedy. This vaneny involves ine: urate production of pitches within + Key without losing the tom This may take the form of a few woared pches macuned 9¢ 3 #pe ‘fe spor in a passage, or may manifest saell az cern scale de feet that ace conseternly performed ove of rune. In eke former case, ‘ecely caling aestion to the spor and comparing it with identical Sale dices eaewhre is olen sulcene vemedy, ince such readers, have shown that they can produce those scale degrees im cane in hose ther locations. Inthe Laer case, i is useful ceturn co ales and fequencesringing them slowly and carefully while tuning cach scale Alegre to the tome, acesszy also singing or paying toni drone i described un the petious section. Siping with others and singing ‘rien bermanic accompaniment can also fostec beter sensitivity cin Conaion, Afer achieving some fuccest in these active such readers ‘ould veurn 9 the pasages in wheh ther ongmal eres oceuced, approaching them with the same cave and accuracy for intonation Tesined inthe dels ‘Good intonation depends om pecfomec’ abilities to auralze pitches fist so tha they may tera in om accurate cendevng of those pitches Withour 2 specie prc in ind vo aun for, peformer cannot possibly suralize proper ivanation. Na are, no bullseye. To this end, we must fealie shar the appropiate kinds of suc ting can pave the way for 900 vonacsn Ths Gots not meen cha such caming will avomatclly ‘elt in good intonation. But without the kind of aural hls hat enable Invsicians ro sucalze pitches Before sey perform them good intonation team mporsiby 19, On he aif alee Sgt Sie (197 ot “ronan, Bt pn, Bats, an Sampn 190 Tune thal ui te re “eva ao ehegeal peter and arson judgment hen ae seExample 22. J. Bach, Brandenburg Concerto No. 4 BWY 1088, mm 3, rem se Visual Tracking bye Movements lnseacors and students spend a gest amount of time and ellort devel: ‘oping, teaching, stdying, and employing systematic appreachs to pach fd hyhm. They use Solmiaton systems, pitch pavers, ehythmic Rg Utes, conducting patterns, and various oer techniques under the 9 tumpton tht familaty and undesstanding wl reed a cernin amount Dol competence. And there is ample evidence, both empire] and ane orl book qulirtive an quanti, that thi sae ‘Nonetheless alo tue that many indvieals become gute com petent these syatemati approaches and ye emai dstucbugly eam Fete at sight singing. Such music ceaders may enhibicBuency wh tonal function and pateras,ehyehmie understanding and accuracy, and agen craly high level f procency ia vending prepared mater. But when they ate conioted wich ending unfamiliar muse at sigh, hey hesitate frequency and make numerous mistakes, ‘A signieane cause of such results rooted inthe eye movements of there cetders. In clinealsetings, [have novice shat more competent reader often move thes gate acroes the page with much fluidity, wheeat les compeent reades often focus in Ate and starts. In a particulary strong iniestion of thee kinds of diffcultes, | have excerpted and de vised certs melodies for sightsinging exams that conain crap for Inefcient readers line of music that ends on along aot, followed By fhe ae measure on a ast ine that begins with more api shyt (te Example 72 for an example. “The number and kinds of mistakes this ping causts are much more severe when spit berween two lines than when these same measure 4 eae nest fo each other in the middle of line. Why? Because certain Feaders havea habe of sacing a whatever nore they ave singing. atthe moment, neve reading abead nti the next beat comes arouse. Thus these ceaders stare a the long note atthe end of the line, only co be foveewhelaed by the ote rapid pitches when they encounter then—as ‘Fy suepee—at the beginning of the next line, Ihave observed eis Sigh Rating 175 lehavior for many years, even setting up music stands for sigh-singing ‘evans in such a way that am closely observe students eyes while they Slog In goneol seme that Better readers re shen Indeed, Slobods {13?e Found thar muse eading volves “dua coding mechanisms," one situa and ane abstract, the later of which allows musicians vo se, un Uestand, and eemembee mote [up to st notes ahs study) from a singe Bret tworsecond glance nt music ntaoon than nonmasiians do Fom this we can conclude, with C,P. E. Bach ([17531762 196), thar per Tormers shoul “awa look ahead ro the approaching notes”. 174." “This and other ocular Behaviors have been documented empiiallyn 2 pair of inportane repos by Goolsby (19949; 1884) Some of is d= ings [1] “music reading (se, sghteading) is indeed music perception, because muse notation se processed before performance" (1994, 97); (2 "Sled musi sade look faster ahead i she aration, and then back to the point of peelormance, when sighereading” (1994, 7) (“ane the les-akiledaghtender, he skilled subject does nor peocess the melody “pote by note" (1994, 10546) () a sled subject used long noe values thal notes longer to sean about the novation” (1994, 115), wheceas “Tessiled ceadesfaate on a much ofthe nation as tine allows ie, looking at noveet in proporsion to ehythmie values” (1984, 121) tnd 3] for skilled ceages, "some sytem of ‘chunking is used ro grasp fore than one note, or item of visual deta, daring a single eation” of {he eyes the page (0984b, 121). Planks (1985) found similar results, otng that "beer readers tended eo cend in larger units than pooret jones”. 12) Vusl ond Mental Charing Goolsby’ conclusion about chunking isan importane ont, Sophisticated Vital wacking ie ot merely a mater of teading some abstract distance ‘head. Iris fact intimately Bound up with the kinds of mental ebunking Of which individual readers ace capable, Eye movements ving sight fending both determine and depend upon readers" ables ro see and Understand musialy meaning eels: setec groupings chythmic pat ferns, salar pasrages, arpepgitions, harmonic implications, and the Tike Nearly x century ago, Alchin (1904 cemarked "One must cleiate 21, Bache peaking ee pce accompa bot he wore at apple al erence oattiain enite a ceeree ee mae194 ead and Raamig Sie the habit ofeinking in groups, nor in uncelaed lated sons, Paying singing nore by aor as some pupils do ie rely pt” (p18). Ray lisesi concluded that *tbe musical meaning of 2 patch 8 ene of the hie factors determining its dfcley” p92) and that indiniual’ abi ies not ony co take in groups of notes waslly but alo co undecstnd those groupe as patterns is crucial 10 good sight ceading: “Something ‘mote than sill inineral seading i involved in se reading of pe Notation. the aii to recognize and perform patterns nlcter groups than singe iervals” fp. 74. Pethap the mots fundamental types of chunks ace metic and hysh anc gioupings. Readers must be able ro cit thir eyes on rescue individual bea, halt measure, or entve messuser, (or exarple—and sp them a meaningful emis 10 be pevloined as sega! compo ens. Closely rloted vo ths are ndvidualehytha patent which ls ‘must be apprehended a8 Singular eomposenes of musical acti). Egually Imporeane ave the various pitchelated groupings. Scslewise gesagt hoedal arpegiavons, sequences, hatnonie wnphcations, and modula tions ae all fodder for the gate of the sophisticated seader. The more Suickly musicians ean see and undestand sue figures he more vent thes sghe reading con be Reoding Awad Unforeuacely here 20 paperand. pencil test fr the kind of eye move rents chaacteistic of skied music readers" Nor is there any single Geilo develop the specie kinds of reading ahead and chunking secs: sary for skilled reading, Nonetkeles, there is 3 ample del chat—in ‘ey unspecie way~d0e lp to fart habit of looking aad while reading music (1) ehoore a bse unt of metic duration love beat, one flrmeasue, et (2) look ae the fs ws 3) cover she Brat unt wih a chomb, a thvee by-Bve card, or whatever, and sing the stunt while looking at she second uit (4 cover the second unit and sing the second unt whe foking a che third ant; and son, aways singing che unit that has ast been covered up “Ths kindof dil eanner, mand fief ake eager scan aad chunk, ‘meanigfl sia! units, Bu at lak it force the eye 0 saad aad and ‘ake in something beloce petiorning it And at reacerr heaeeie know! fdge and speed of comprehension grow, 29, roo, ean thes ables 10 basse meaninglalehanks within chi advance fed of vison I addition, 2. ade, Gay ated Sood Resch ns Dal Parkin Ereraker ‘er ight ey” in onder wack acu bea Sigh Reng 195 the simple kindof “mumbling” desrived euler in his chapes can be ‘levated 109 new lve! of sophistication wherein readers mumble though ‘he music deseribng such chunks as chythmie panera, sae, arPegp fons and 40 of. Although (00 time-consuming to execute before every righeseading opportunity, tis kind of mumbling useful both as a dil, co develop chunking whl actually sight reading and asa means of esting {reader abies o perform thi ind of evening eflecively areal ie ‘And long before modern eyesmovement studies were carried out, Ray (2964) had already suggested a dil designed to ieurove vial and men {al chunking “The presentation of nate groupe at shor exposute, with # gradual increas in the pumber of noes presented in 2 group, shoul be Sh exalt means of developing he perception spun and should lead ro ioc elficient musi eading™ (. 221 Merc and Rhythmic Thinking Evexy pevformance of metric music should embody a sense of meer. To ‘ha end eaders must be cognizant of metic stature andany devicions thecttom. Thee ae various ways ns a Sense of mse in perform ‘rs Gross body motions, foo epping, and counting all ave thei 2d “ancages, ut no method vs a5 unweral, extensible, ad musi 3 cos Gorwng ce very profrable for developing senders to perform al cei rane reading while conducting, Conducting gives hiereeicl stractuce ro rw levels of pale, expressing boc beats and the downbeat that forgone them. Condscting continually provides kinesthetic feechack boot elaine placement within measures, individual beats being de ated by unique movions with the pattern. Conducting helps to shape Gupte performances saco duple severe, tiple peformances ito teint structures, and Son, so that peclormances ean deadly matifst the me fees they contain. An addiconal Benefit is that ava skills students tained im conducting develop an inimace knowledge and understanding ofthe ‘motions of the conductors they will ing and play under Ie is hard 10 Imagine recommending courte of study in ght singing that doesnot Incorporate condacing nto every posible performing sci. Metre hinking i lo aided by stimulating awareness about types of rhythmic grouping. For example, the "ryesany of the ba ine” does ia fact have is place—where musical grouping falls within bar lines. How ‘ver, many musical passages Begin their groups after downbests and con luce them across bar lines. AS an example, see the hythmic gestures lindicaed by brackets that group across metic oundaties ia Example 7 Rhythm grouping ean also become a dynamic coniton capable Lexi aad JaclExample 73. Morr, Symphony No. 40, K. $50, mint 4 mm 1-5 ‘of changing several times even dating the course ofa celaively short melody This in adiion o metic grouping, the ceade’s eye mus lear co take in and process ehythme groupe Common rhythmic pares should be leaened os patterns, xo be recognized and perlormedinegrally as en ‘tes onthe fy, Ths is ove sil for which hythme alization i pr scully wel sited especialy those systems hat atach unig sabe troup to specie patezns For example, ceaders skilled in Takai learn ‘0 recognize quadruple division of the bet lin any meter) 48 “ankarde fn and reproduce the coctesponding rhythm pactetn they have learned ‘o asocat with that syllable sing “The dsineion berween metic grouping and chythmie groupe is a8 Iimportane one. Meter and hypermeter ate monly regular phenomena, whereas chythm is pas, Bud, ana variable. Ae Kramer (1986) moved, “Rhythmic groups ae of exible sae, while hyperineasuces sual) have bu a Few posite length at pertcular level, Rhythmic groups ‘move rowaed their primary accent oe away from ih metic unit not move, eventhough their consiewear musi may be pushing sway fom the preceding or toward the upcoming chythmi accent (p96), Reacers must be pepated snd alert to recognite thythaic groupe sn partens in thee various dseibutons across the metic lramework ‘Recognizing ehyehmie patterns is alten laciiated in nottion wherein beams visually group metre divisions. For example in eters with the (quarter noe as beat unit ll eythme valuer sale than a guar note an be beamed rogether when they fall with one beat. Composers an fsitors break bears benween beat (or same a she hall mesuse ia Band even break secondary beams within Bett, #0 that ten-divding patterns are usally clearly delineated the printed page. For exanpi. the divisions of each beat in Example 74 ate ilegraphed through the judicious we of beaming However, veral aoatonal practices can ces in obascationof bee paterns Fis, the convention of radon vocal notation demand hat Beams be uted to delineate sylabifcation eather than metic cisions (Older vocal scores refer this practice, which can signifcutly obscure the beavune divisions of she meter, Example 7.5 shows one such score SaRsaEIEA Inn aaAaE cee saaURS aT ean nnn Example 74. J 5 Bach, Sate in B Minor, BICV 1067, FolonsiteDovle, However, at Read (99) noted, “Praccslly all progresive vocal publications now pent the voice pares wien Seams [indieating bet ut] Instead of incividua ag, a much-neeced revsion i national pracice™ (op, 283-85. Similarly, Stone (1980) wrote that “the wadtional system ff berming and Ragging vocal music according to text lables has been replaced almost univerally with instromenral beaming, He, beaming fording to beatunte or other metric divisions, with sluts indicating Sakenever more motes than one are tobe rang on one slabe™ Ip. 283). ‘Reaces must be ready to iterpet whichever kind of veal notason they ‘Second meters in which beat units ave greater than a quacer ote for cxampl, {and hinder the ute of beams fo show beat groupings. For trample, the ungrouped stems ad fags in Example 7.6 make cel sie beat sepmentation» ifcle ask for many cadets. Although [2m aot foe a momen suggesting that such mane should be cenorated look at the clanty of Beat placement in the odd-numbered measutes when the pasage is writen in fro allow beat 10 be beamed rogether (Example “The, here are cases when comporect wish 9 point up certain ma seal groupngs-pheanng, motive Ruts, and crost meters, to name the Example 75. Handel, lee on Egypt“ wil sng ant the Lord,” min. = 3 inthe ws paca brat ume befor example Beever we land “odo ce aSigh Reng 178 aa ee a = Example 7.6 Becrsten, Conde, “My Love” Goveinor’s Serena, mm ‘moet common-—for which beaming rakes on te esponsibility of showing . thor groupings rather shan remaining aligned with beats. Example 7:3 ® —thows one of tach of these: [a} shows a beam broken indicate che beginning of # new half-phaee in m, 2 (b| shows a mote Raure on the downbeat of 2 et of av 2 all-bent beamed together (to separate the ewo types ofclucking by the ele) shows Seams used to goup tighth note to show the dplacement of meine accent. (There a, of ours many similar ekamples; these are merely tree cepeseatative ox ‘Example 77. Berssn, Condde, “My Love” (Governor Serenade), am ATE enaed nb Example 78, Three examples of beams used co show grouping other chon Up meter and beat a} Mure The Mule Flat, K 60 “Dee Voglianger bi ich ja” mm. Ins 1 Ramen, Paces de Clevezin, Book of 1731, "ua olan. 13 (0) Being, Sonata F minor for Cline: an Fano, Op. Once » rhythmic pascern is cecogiaed x must be peformed cu ately This con be she product f one of wo proceses: (2) matching the poeta against 4 mental inventory of previously laened partes tnd} wocking Ost an unfamiliar ptero in tel time, Ie should be Selt-evident tat che mace patene faders have experience ith, che ies computationally inensve apd eror prone their ght reading ill ‘Oe final word ic necessary regacding chythmie accuracy. Even good getiormanees devae tom absolute ehythme precision; in fac, ths evealy characteris of expuestive peformance. Gabrilsson (1982) Showed that on # noe-by.note bass, pevformers deviate from rendering tym values exactly proportionally to one another He concluded that yh ining solely concentrated n sractual aspects in pater is lated fron any musical conten i highly ecient especialy it happens to be combines withthe bli hat the synbols used in musical nosacon Should be understood in a very exact, mechanical way” (p43). This is ee anothesreaton co contextualie the matecals used ip aul skis ean fg a much a8 possible‘xample 79. Simple chowd aepeggation wih movable solmieation Harmonie Thinking ‘The ably to see and undersand the harmonic implications in music is importa for pevformers sn a leat two way (1) tenders who quickly [pasp the hatmonies implied in a passage can use that information to facilitate thee performance (lor example, knowing that m2 outline 4 grea id “naghe singing Indeed, rexearch performed by Serafin (195!) shows that ven untrained listeners dtl an “underlying tucture chat embodies two ‘or more simplifed or mote base melodies" fom cctainsngle-pst mc dies (p-$) ‘simple example appears in the Bist duct between Figaro and Susanna in Mozart Marnage of Figoro,K 492, The opening seven Bate ae e000 Suced ia Example 1s), Many bepining ght readers would approach this pastge a series of monotonous cepented pches broken Sesion tly by sarcling leaps thar become more fighter aé the music prov [resis Sighcy more asace eades might noice te sing line A-E-C-D nd eesliz tha the “espe” B,C, and D onthe Ath sth, and Sve nth Sownbeats may be executed as pat of 3 leper linear mocon from A. The mos astute readers wil view this passage 382 product of thee voices at ‘own in Example 715(D (2) the pecl aD; (2) an upper voice that be ‘is on an implied G (the oni to which hey should ore themes be fove Beginning) sod moves to nm. 3 and subrequenly to B,C, and D; {and (3 an iner voice that begins onthe tame Ge gained in m5 then ‘novesto Fin m. 6 and back o Gn. 7 Heating the Flin elation Git sn exeerey practical and musieal approach, segardless of whether one 2 See he dato of “one” and “pt” n “ie Ledig and Harmony” in sucalizes it coming team an imagined Gi exer nasuces ora pref eghbor to the subsequent Gin. 7. A slay more sopbieated example also comes fiom the music 0 Mozart Th fst out menses of heft seme from the se moveren of his Pano Sonata in © Mayor, K. $45, ae shown in Example 716(0) With egard to voice lading and steers! singing, we must address Important pices: the B of the downbest of m2 and he A on th Gowntess of m3. Each of these pitches can be heard and sung a5 product ofthe linear voies that begins on C and G, respectively. Th Tower voce prolongs C for the ene Set measure, moves down by hat step to 8 forthe fis half of rs 2, a ceroles back to C oa he hin fear ol that measure: The upper voice prolongs G fortwo ence measure {isthe common one between the tone and dominaat harmonies}, move tp by sep toa neighbor note on A forthe fst Ralf of m3, and esolve back co oa the third beat ofthat measuce. These wo voies ae show in Example 7.261). Even without being peeseced with such dogmas Sehenkeran concepts snd graphics, eades should at lest be guided « ear the Bs "coming Trot” the Cin andthe A as "coming from ie Gin “The Inerature abounds with such figures, Readers who calculat pirches on a note-by-nore bari—cegarless of wheter they take an 0 fervalc oe seale-depree approseh—will forever seuggle withthe varie ‘Sf seapr muse hae 0 offer Readers who lear se, hea, and execut the comectons between temporally separate bueinaty acaent pte ‘wil tap many beneBs ia teams of accuracy, fay, and musicality Performance Indications and Musical Expression So much aul skills eraning i aruseé solely on thyshm and ich te it sams costed ascort + wide abyss (com the atal world of misc pestormance Inorcer to bridge ths dicance and co make aural sil esi as mascl 2 posible, inscrastors nat integrate uch importat Inusialfestures 24 timp, dynamics arteulaton,secen, and parasia inte eure Siehisingingcuciula should include matesils wth ceo indication ts eay 48 posoble inthe Iaring Sequence. tis important ac tine (carticulaly in ealy taining) tallow stadeas co work out parcula {roses of shythm and pitch a whatever tempo is comforable for then Howeves, sudente most lesa (1) © integrate the skill hey learn int predeerined temp and (2) 9 ead, understand, and execute cempo i asians, They must leach co interpet simple meconome mating fe fexample,"J2110") a5 state conditions. They must also learn co nterpa the many tempo indications im various languages (Allegro, Langs lc seasons do well go define = eoce™ set of such indications tha studenExample 716, [3) Monts, Pano Sonat Tari) Ye lading orp ng in © Maior, K, 45, mt. em, muse know by heat students must also demonstrate an ability co lok Up ce meanings of exher such texms, They must leera to cexpond appro piately to quantum changes of tempo and to gradual changes (such 36 bcrlerondo and rtardonde). In aan, they shold ean to make chet ur chugs ol ep pr fimepiig pragma Dynamics, too, should be included as ealy as possible. Once agai, there ate static indeations (py mf) and indications of gradual change (eres, dim.) Stadens must een coheed such markings and incorporate thei meaning convincingly in pesfocmance. In addon frequent efforts should be made to employ additonal dynamics inthe service of gener] rascaliyadding interest to repeated Bgures and shaping peas, oe Similac auention should be paid to ariclaion markings. The broad ditlerence berween legato and staccato is especialy important, but ent ‘night also ke the opportunity to dacuss how certain articulations might be implemented on various instruments (legato on trombone, for exam ‘land to dicus the interpretation of vanous sntrument-specic at. Sion (spiceao on scngs oe the vocal portamento, for example. Various dynamic accents, inluding symbols (for example, >) and ab eviated terms (lor example, of) should be encountered ad interpreted by venders?" (Here there is tome necessary and interesting overap be ween accent 254 ruin In agian, no opportu shoul be lst Yo acd such accents where mascally ppropeste The use of agopc 32 cents should algo be explained and encourages se 3 means of shaping musical expression, 2 sec rn ation dain eon ig Sight Reoding 189 “The art of musical phasing mast be nurtured continually from th chest day of sural shill eaining. This includes the reading a6 prope Imerpretaton of pened phase markings i the music, as well 5 Sens tiny othe extensional aspect of ypecmetet and phrasing. Pethap Inostimpostant is he choice of musiealyappcopeate paces breath ‘Ths is simpe enough in muse that incades phase markings (but oe Casi ignored ules the expectation ro observe such markings is unm {akably unequivocal But require 2 gzeat deal of examination in mus) Swithout such makings (for example, Baroque musi or some transcrip tions of fle meodis). In addivon to breathing, the other component fof musical expresion—rempo, dynamics, arteuation, and accent ‘hou be brought ino service in exeeting phesing By this point--with the incision of tempo, dyaamies, aetiulasion accent and phaaing-—we tun the ck af ovcoaing eaders. Ths son feason that some aucel sie texts and cutticula downplay these ver [estuses in favor of concentrating exclsively on chythm and pitch, Hom cer, these features play such an important coe i shaping the music xpenence that they can be ignored only a the sis of producing ut rascal sigh readers Readers mus sng exercises and excep, whether prepared ora sigh sith sense of musical purpose. They must shape phases through pope breathing and the judicious addition of musialy appropriate changes tempo, dynamics, articulation, and accent, Al ceadings can serve ¢ Springoonsds for cussion of suitable nd convincing interpretation “The bev ural sil nsracoceaever let» musialyAat performance g by without making suggestions for how ix could be shaped, and the never let well-executed interpretations go by without offering ecknov Tedgrnent and praise. Prepaved Materials and Sight Reading “There ent inthe minds of rome sual sil instructors and studens = lncersintelaionship between sight singing 20d prepared work. WE Inemorie salen, sequentas,exercte, snd excerps when the goal + framing io sight singing i to become becer at reading at sight, m through preparation? The answer :o this question bes in pact inthe fs that we ace generally unable to perform at sight that which we have w yet leaned, To become better sight ceadere we mast indeed do lox Sigh eacng, but to beable 0 ena, nterpet, and perform new music putes we must fet encounter rach Bguses ina varity of secings ar work them out in practice ression? diag which they ean be slat from one of more other munca parameters $0 a5 to focus on the we thing tobe laened. Quine (1990) put this way: “soa the base! fheal problem fist, before working oni. Reducing difclies eo che Simplest foim makes praising them both more meaningfl and moRandy and Pong Sa evearding™ (p83). Sandor (1981) wrote: “Conscious practiiag i anal 29008 co a sptighe that foruses ona lative small ace and lumina ic thoroughly. I then proceeds 0 other problem areas a all sae {© snegeate the examined aces" ip. 186). Tas insight 18 applicable to ‘many hands of musical elemens, be they s few beats of messutes, hy th Ime gure, ora pitch paren. By olatng, working out, and eimetcating Such elemens,ceadrs arm shemrsves with she shilsnecesaty ta cecute tose element oe sight inthe fate Some sil are esenially he same cegcdet of whether they ve vestormed through preparation or at nghe These sil include the pre Parlormance activites discussed in chapter 6 extablihiag colcton, toni, pulse empo, and meter The actual performance of mates! pas sages loot reading or understanding the notation) vn vel time's est ‘aly ce same for prepared mates and fs sight reading For example, ‘egatces of how che message “skip to the leading cone” teacher the brain, che acl execution of this skip 1s 4 similar process O! couse, there ira liference berwen encountering musical fies in ew contents and merely recisng a memories une. Herein les one important anges ‘in aural skills aiing. Readers who simply memoine prepared mares without making constant atoeaions withthe spec Riguces urn ent study will not reap much benef in the future, since hey are not rmemoraing the gues as figures Readers must be supplied withthe tools, made aware of thee apaliabiiey in prepared mata, nd aught 'o bring forward and apply he rols approprat ro specie ccumstones Suting sgh ead. The aature and importance of other sls ites signitcany de pending upon whether they are uted while preparing materials or while sight eradng, Far example, che types af eye motements seces sary for sight eeadng (mace anc shorter sitions) ave esentally ei ferent Irom thove used while reading prepared suse (Coosby 1594) [AS another example, consider the dllerence between pacing cut 4 melody’ hasmone smplicatons while studying. and peacteing a le sure and scanning ahead to discover such implications in rel tne while sgh ceaing. The diferences between thee behavions ate ar icularly marked daring early sages of taining, Finally, conse: the ‘apes of practice techniques necessary to prepare meters Although efficiene and elective pracice sls are ecucaly mpostane to succes a aul skills ersining and valuable for ther entensilsy 10 ote Practice stations (auth as practice for stud lessons, they are ee ‘ely unimpocant during sight reading lnsteuctors and student alike should be keenly aware of the most sppcopcate circumstances for leaning specie skill. For example. the ick reading ahead necessary for good sigh eadin cannot be proceed (on mateals that have already been prepared. With this mind, when certain shil re 10 be introduced, sessed, drilled, and assessed, they Should be placed inthe moss approptiaceconrexe Sigh Hoang 191 Another portant ee the lice berween the amount of tn sn elfore penton peepated materials onthe one snd and sight eur {tthe other Consider the wo extemes poted by the fllowing imap suey cartel I)» course during which tem exerts and excerpts 4 Designed for every meeing, new ideas and canceps ave constant) Guced, and ao eading a sight i practiced whatsoever (even the fi ‘vam conve eeely of poepaced merle, and (2) 3 courte duc Sonic every inate of every meetings raken up by sight readin, belo ‘which ao concep are introdared, no preparatory exerci asigned, a ta llastrative ences lenened. Whale these descrpions hove been st Dyperboially as straw men, there ate 1 Tact coueses that come qui close to each exreme. One way ro strike a balance between these pel isco design evcicula 50 that daring any criccl period (e uni of stud 4 rementer, even an entire curclm) the number of new concept 3 Prepared materiais decline in snvecre proportion tothe amount of mus Steed up for sight reading, Another wou fo begin a estured sou fof eight ending afters minimal amount of concep and sl have be: learned, keeping the sighteeading maceals ata level sufficiently behit the new materials being intoduced and thereafter Keeping the amouae sight reading steady ehroughout che couse of study. In eicher case, {uidng principle that new concep and prepared materials shold timately led into the experience of sight reading, 30 tat the proces ‘eading music extemporancously relies mace and more op the ine ‘mind of» skilleg eens. In te fang cunt seems chat the factce eat coneibue most sign cantly sight-reading ality ace 1) understanding of notation and va ‘us musicel concep, [experience wth reading an pesfcming 8 arity af msi terra, and (3 che amoune of ume an effort spent Sight feading las opposed co preparing) musi. Lehmann and Frese 1996) concluded na “the aequntion of sige readng sl nore ti othe majanty of other types expert pecformanee than the acqusion Solo pecfosmace wher the musicians spend moths or yeas fo peeps forthe peformance of specie pieces. Inthe sight-eading of usc [| many other types of exper pedfozmancel, individuals pepateforunknot flestuons” p24). fy a86iton, Lehmann and Erieton found tha i nce un sight reading aby are wot deci arta oimnate ele for music oe iastrumenal technique In a sale st46y, they conclug| thar "he ality eo ighecead does nr inreare wth igh ener ne ental sil (Lehmann and Ercsson 1983 182). Therefore, ight reach involve set of silt be leaned in and ofl Transfral to Instruments Tae are and crate of sight singing is most certainly applicable co vo! traning in general. Siagers whe sty sigh singing wil ican grew