Basic Sight-reading and Rhythmic Exercises

For the Choir Members of Tanjay UCCP Church

A Project Paper Submitted in partial fulfillment to the requirements of

Music 141 (Seminar 1) and Music 142 (Seminar 2)

To:

Prof. Diomar Abrio, M. Mus Ed

Submitted by:

Nikko Paolo G. Rodriguez

Graduate School

Silliman University

March 2018
 TRAINING DESIGN IN MUSIC NOTE READING

I. RATIONALE

Majority of the songs used in churches are written in Western music notation, especially hymns.
Through sight-reading, the choir participants would be able to learn and master the piece quickly without
the assistance of instruments like the piano. However, the problem of most churches lies on the fact that
almost all choir members are incapable of reading the rhythm of the notes, much more reading the tone of
the notes. This seminar is designed to equip the choir singers with the basic knowledge of rhythmic sight-
reading and a review to so-fa syllables. This seminar will also include a review of the basic and frequently
used musical signs, symbols, expressions and articulations in traditional and contemporary Christian
music.

Through this seminar, choir singers could develop skills that would enhance their ability to learn
a song faster, not by memorizing the tune, but through sight-reading. They will be able to identify the
correct measure to start singing after the piano intro is played. They could recognize the flow of the song
without further assistance from the trainer. The choir would be able to sing harmonically and
rhythmically with the accompanist in the absence of a choir conductor.

II. TITLE BASIC SIGHT-READING AND RHYTHMIC EXERCISES FOR CHOIR

MEMBERS OF DUMAGUETE AND TANJAY UCCP CHURCH

III. OBJECTIVES

This seminar aims to:

 Familiarize the participants of the common musical signs and symbols used in written
music
 Provide techniques and strategies on learning a song faster through sight reading
exercises, especially songs from the hymnal
 Train the participants how to sing using sol-fa syllables.
 Develop a sense of rhythm by having some rhythmic exercises using sticks (individual
and group activities) using a provided lesson material
 Educate the participants on the importance of dynamics in singing
IV. PROGRAM FLOW

 Registration
 Opening Program/ Words of welcome
 Training/Workshop Proper
 Lecture
 Activities (Group and Individual Activities)
 Q&A
 Break/Snacks/or Lunch
 Choir Practice (applying the techniques learned)
 Group Presentation of a Selected Song/Christian Anthem
 Closing Remarks
 Basic Sight-reading and Rhythmic Exercises

A. Review

Common Musical Terms and Symbols

1. Notes and Rests

Notes on a staff represent what pitch to play and for how long. Rests are musical symbols used to
designate when to pause and not play.

Below is a table which displays whole, half, quarter, eighth, and sixteenth notes and rests, along with how
long each one lasts, measured in beats.

Dotted note

Placing a dot to the right of a note head lengthens the note's duration by one-half.
Additional dots lengthen the previous dot instead of the original note, thus a note
with one dot is one and one half its original value, a note with two dots is one and
three quarters.

2. Lines

Staff

The staff is the fundamental symbol of music notation, upon which symbols are placed.
The five stave lines and four intervening spaces correspond to pitches defined by the clef.
The higher the pitch of the note the higher it will be on the staff.

Ledger or leger lines

Used to extend the staff to pitches that fall above or below it. Such ledger lines are placed
behind the note heads, and extend a small distance to each side. Multiple ledger lines can
be used when necessary to notate pitches even farther above or below the staff.
 Bar line

Used to separate measures Bar lines are extended to connect the upper and lower staffs of
a grand staff.

Double bar line

Used to separate two sections of a song/music. Also used at changes in key signature,
time signature or major changes in style or tempo.

Final double bar line

Used to indicate the conclusion of a movement or an entire composition.

Accolade, brace – Piano Bracket

Connects two or more lines of music that are played simultaneously – in this case, piano.

Voice Bracket

3. Clefs

A clef is a musical symbol used to indicate the pitch of written notes.

Treble Clef (G Clef)

The Treble Clef spirals around the second line from the bottom. This spiral tells us that
notes on this line are G.

Bass Clef (F Clef)

The Bass Clef has two dots, above and below the second line from the top. The dots tell
us that this line is F.
4. Accidentals and key signatures

Accidentals modify the pitch of the notes that follow them on the same staff position within a measure,
unless cancelled by an additional accidental.

Flat

Lowers the pitch of a note by one semitone.

Sharp

Raises the pitch of a note by one semitone.

Natural

Cancels a previous accidental, or modifies the pitch of a sharp or flat as defined by the
prevailing key signature (such as F-sharp in the key of G major, for example).

Double flat

Lowers the pitch of a note by two chromatic semitones. Usually used when the note to be
modified is already flatted by the key signature.

Double sharp

Raises the pitch of a note by two chromatic semitones. Usually used when the note to be
modified is already sharped by the key signature.

Key Signatures

Key signatures define the prevailing key of the music that follows, thus avoiding the use
of accidentals for many notes. , a key signature is a set of sharp (♯), flat (♭), and
rarely, natural (♮) symbols placed together on the staff.

5. Time Signatures

Time signatures define the meter of the music. Music is "marked off" in uniform sections
called bars or measures, and time signatures establish the number of beats in
each. The upper number defines the number of beats in one bar (measure), and the
number below tells what kind of note receives one count.
 Common time

This symbol is a throwback to fourteenth century rhythmic notation, when it represented

2/4, or "imperfect time". Today it represents 4/4.

Alla breve or Cut time

This symbol represents 2/2 time, indicating two minim (or half-note) beats per measure.
Here, a crotchet (or quarter note) would get half a beat.

Metronome mark

Written at the start of a score, and at any significant change of tempo, this symbol
precisely defines the tempo of the music by assigning absolute durations to all note
values within the score. In this particular example, the performer is told that 120
crotchets, or quarter notes, fit into one minute of time. Many publishers precede the
marking with letters "M.M.", referring to Maelzel's Metronome.

6. Note Relationships

Tie

Indicates that the two (or more) notes joined together are to be played as one note with
the time values added together. To be a tie, the notes must be identical; that is,
they must be on the same line or the same space; otherwise, it is a slur

Slur

Indicates that two or more notes are to be played in one physical stroke, one
uninterrupted breath, or (on instruments with neither breath nor bow) connected
into a phrase as if played in a single breath.

Phrase mark

A phrase mark (or less commonly, ligature) is a mark that is visually identical to a slur, but connects a
passage of music over several measures.
Glissando or Portamento

A continuous, unbroken glide from one note to the next that includes the pitches between. Some
instruments, such as the trombone, timpani, non-fretted string instruments, electronic instruments, and the
human voice can make this glide continuously (portamento), while other instruments such as the piano or
mallet instruments will blur the discrete pitches between the start and end notes to mimic a continuous
slide (glissando).

Chord

Several notes sounded simultaneously ("solid" or "block"), or in succession ("broken").

Two note chords are called dyad; three-note chords are called triads.

Arpeggiated chord

A chord with notes played in rapid succession, usually ascending, each note being
sustained as the others are played. Also called a "broken chord".

7. Dynamics

Dynamics are indicators of the relative intensity or volume of a musical line.

Pianississimo

Extremely soft. Very infrequently does one see softer dynamics than this.

Pianissimo

Very soft. Usually the softest indication in a piece of music, though softer dynamics are often

specified with additional ps.

Piano

Soft. Usually the most often used indication.

Mezzo piano

Literally, half as soft as piano.

 Mezzo forte

Similarly, half as loud as forte. If no dynamic appears, mezzo-forte is assumed to be the

pr evailing dynamic level.

Forte

Loud. Used as often as piano to indicate contrast.

Fortissimo

Very loud. Usually the loudest indication in a piece, though louder dynamics are often specified

with additional fs (such as fortississimo – seen below).

Fortississimo

Extremely loud. Very infrequently does one see louder dynamics than this, which are specified

with additional fs.

Sforzando

Literally "forced", denotes an abrupt, fierce accent on a single sound or chord. When written out

in full, it applies to the sequence of sounds or chords under or over which it is placed.

Crescendo

A gradual increase in volume. Can be extended under many notes to indicate that the volume
steadily increases during the passage.

Diminuendo (Decrescendo)

A gradual decrease in volume. Can be extended in the same manner as crescendo.

8. Breaks

Breath mark

In a score, this symbol tells the performer or singer to take a breath (or make a slight
pause fornon-wind instruments). This pause usually does not affect the overall
tempo.

Caesura
 Indicates a brief, silent pause, during which time is not counted. In ensemble playing,
time resumes when the conductor or leader indicates.

9. Articulation marks

Articulations (or accents) specify how individual notes are to be performed within a phrase or passage.
They can be fine-tuned by combining more than one such symbol over or under a note.

Staccato

This indicates that the note is to be played shorter than notated, usually half the value, the
rest of the metric value is then silent. Staccato marks may appear on notes of any value,
shortening their performed duration without speeding the music itself.

Accent

The note is played louder or with a harder attack than surrounding unaccented notes.
(May appear on notes of any duration.)

Tenuto

This symbol indicates that a note should be played for its full value, or slightly longer; it
may also indicate a slight dynamic emphasis.

Marcato

The note is played somewhat louder or more forcefully than a note with a regular accent
mark (open horizontal wedge).

Fermata (Pause)

An indefinitely-sustained note, chord, or rest. Usually appears over all parts at the same
metrical location in a piece, to show a halt in tempo. It can be placed above or
below the note.

10. Repetition and Codas

Repeat signs (bars)

Enclose a passage that is to be played more than once. If there is no left repeat
sign, the right repeat sign sends the performer back to the start of the
piece or the nearest double bar.

Volta brackets (1st and 2nd endings, or 1st- and 2nd-time bars)
 A repeated passage is to be played with different endings on different playings; it
is possible to have more than two endings (1st, 2nd, 3rd ...).

Da capo

Da Capo al Fine (often abbreviated as D.C. al Fine): Repeat from beginning to the end, or
up to the word Fine (should that appear at the end of the passage)—the word Fine itself
signifying the end.

Dal segno

(lit. "From the sign") Tells the performer to repeat playing of the music starting at the
nearest segno. This is followed by al fine or al coda just as with da capo.

Segno

Mark used with dal segno.

Coda
 Rhythmic Exercises

Throughout these exercises, the upper line represents rhythm the student should perform; the
lower line is the pulse. The upper line may be sung, hummed, or spoken on a neutral syllable; the lower
line should be tapped by hand or foot or it may be conducted.

It is strongly recommended that the methods of execution be changed frequently, so that none
becomes an exclusive habit.

PRELIMINARY EXERCISES
Two quarter-note beats per bar
Hymns

Exercise 1a

Tap the rhythm of the notes using your hands or a stick and recite the lyrics. Use your foot to tap the
pulse/beat.
Hymns

Exercise 1b

Recite the sol-fa syllables while tapping the rhythm of the notes with your hands. The feet can be used to
tap the beat/pulse or the conductor may provide the beat. (4/4 time signature). In this example, the fixed
“do” is used.
More Exercises
More Exercises

Can you guess the title of this hymn?

Recite the sol-fa syllables while tapping the rhythm of the notes with your hands.
The SATB

"SATB" is a quick way of referring to the four main voices that make up a choir, which are Soprano,
Alto, Tenor and Bass. Soprano and alto are women's voices, whereas tenor and bass are men's voices.

The songs from the hymnal may be sung using the four voices.

Choir Anthems are usually in SATB with a piano accompaniment. The staff for the piano is usually at the
bottom of the four voices.
More Exercises
Final Activity

The participants of the seminar will be required to perform this piece.

Time allotment for practice: 1 – 2 hours.

We Will Serve Him

Words by: Robert Sterling and Chris Machen

Music by: Robert Sterling
Bibliography

Robert Starer. 1996. “Rhythmic Training by Robert Starer.” MCA Music Publishing 7777 W. Bluemond
rd. Milwaukee, WI, pp. 6-10

Sightreading101 1999 T.A. Vieira, Jr.

https://www.tedvieira.com/onlinelessons/sightreading101/values/values.html

Brian J. Dumont 2009 “The Open Hymnal Edition 2014”

https://openhymnal.org/OpenHymnal2014.06.pdf
 United Church of Christ in the Philippines

Gomez St. Tanjay City, Negros Oriental

Presents this

Certificate of Participation
to

________________________________

for his/her participation in the “Basic Sight-reading and Rhythmic Exercises” workshop held on
___________ , 2018 at the UCCP Tanjay City Church. Given this _______ day of _______ in
the year 2018.

____________________________ _____________________________

Nikko Paolo G. Rodriguez Prof. Diomar Abrio

Resource Speaker Dean, College of Performing and Visual Arts
Silliman University, Dumaguete City

__________________________________

Rev. Inocito Q. Adalid

Resident Pastor, UCCP, Tanjay City