1.4.

Exercises: Diatonic Steps

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Determine the starting tonal syllable and then scan each exercise for tonal and rhythm

pattems.
" Establish tonality by singing a tonic-chord arpeggio that fits the range of the melody.
If necessary, transpose the exercise into a key that provides a more comfortable range.
Ser an appropriate tempo, rap or conduct severa! preparatory beats, and then sing the
exercise from beginning to end without brealcing the tempo.
After the initial reading, isolate problematic measures and practice them more slowly.
Check to make sure that every note is held for its full duration. Sing the exercise again.
After the exercise has been sung accurately, repeat the exercise-first at a faster tempo
and then singing on a neutral syllable, Ali exercises should be sunga cappella.
Do not wrire the tonal or rhythm syllables in the music.
0
Tonal and rhythm syllables should never be spelled out and readas symbols.
R~ember to practice your.dietation skills.
.. See Appendix C for helpful suggestions for tonal and melodie dictation.

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TONIC PENTACHORD MAJOR

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Listen as your instructor sings a variety of tonal patterns; echo each pattern. The use of
hand sigos, conducting, or quietly tapping the beat is highly recommended.J

Vocal-Pitch Exercises
Sing each of the following drills daily.

Pentachord scale
Sing the ascending and descending additive pentachord scale using tonal syllables. Start
on various tonics and always maintain an even pulse. Sing the exercise again, integrating a variety of rhythm patterns: quarter--quarter-half, and so on.

Intervals
Sing the ascending intervals from the tonic and the descending intervals from the fifth
scale degree. Verbally label the quantity of each interval prior to singing the interval.
Sing the intervals of a third ascending from the tonic and descending from the fifth scale
degree.

Tonic triad
A tonic triadis three tones arranged in thirds (tertian): root, third, and fifrh.
o Perform the tonic triad as a chord (tones are sounded simultaneously, creating
harmony-the vertical aspect of music) and as an arpeggio (notes of a chord sung one at
a time) as an ensemble with your classmates or at the keyboard.
3Nore to instructors: The tonal patterns are found in Section 1.7 and should be taught by rote using rhe
rwo~step process.

11

2.4. Exercises: Diatonic Steps

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lines are never connected to one another.

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Progressive Sight Singing

Chapter I. Additional Exercises
Diatonic Steps

1.

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6.

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Progressive Sight Singing

Chapter 2: Additional Exercises:
Major Scale, Diatonic Steps
1.

2.

3.

4.

5.

6.

7.

8.

9.

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