Professional Documents
Culture Documents
u
si
c
a
ste
rcl
a
ss
P
DF
fo
r
C
ari
sVi
s
ent
inL
ie
bma
n
(
EarTr
ai
ni
n
gan
dTr
an
scr
i
pti
o)
n
How to do Sight Recognition Studies:
These are Movable Do exercises, meaning that whatever
key you are in, the tonic is Do. If you are in the key of F
Major, F is Do. If you are in the key of C minor, C is Do
etc.
Put the metronome on to a goal pulse of 72. (Remember
to pick a tempo that is not too slow so you don’t get
distracted, but also not too fast, because your focus will
be on keeping up rather than hearing and allowing your
mind and ears to make the necessary connections). Do
NOT sing the exercises. Only say the syllables that
correspond to the notes. The goal here is to make a
visual connection from what you see on the page (notes
on staff) to what the corresponding syllables are. Also
by doing this exercise, the eye gets trained to see the
visual space (intervallic distance) between the syllables.
Do exercises in all keys and in both treble and bass clefs.
Sight Singing:
This consists of conducting, solfège and singing. If
problems occur, the examples can be broken down into
rhythm exercises (Ta-ing the example), Sol-Fa or Sight
Recognition drills. Once problem areas are addressed,
all the elements can then come together for complete
sight singing.
Sight Recognition Key of C Major
Metronome setting= 72
& w w w w w w
w w w
w w w w w w
& w w w
w w w w w
& w w w w
w w w w w
& w w w w
? w w w w w w w
w w
? w w w w w w w
w w
? w w w w w w w
w w
? w w w w
w w w w w
Sight Recognition Key of F Major
Metronome setting= 72
w w w w
&b w w w w w
w w w w
&b w w w w w
w w w
&b w w w w
w w
w w w w
&b w w w w w
?b w w w w
w w w w w
?b w w w w w w
w
w w
?b w w w w
w w w w w
? w w w w w w w
b w w
SOL-‐FA
Studies
1
Do
Re
Fa
Mi
Sol
Do
“
(Do)
Re
Mi
Sol
Fa
La
Sol
“
(Do)
Sol
La
Fa
Re
Mi
Sol
“
Do
Ti
La
Ti
Do
Sol
2
Do
Re
Mi
Sol
La
Fa
“
(Do)
Ti
Sol
Mi
Fa
Re
Do
“
Do
Fa
Mi
Sol
La
Re
“
(Do)
La
Re
Fa
Ti
Do
Mi
3
(Do)
Mi
Fa
Re
Sol
Ti
Mi
“
Do
Sol
Mi
Re
La
Do
“
(Do)
Ti
Sol
Fa
La
Mi
Re
“
Do
Mi
Ti
La
Fa
Sol
4
(Do)
La
Sol
Ti
Mi
Re
Do
“
Do
Mi
Do
Sol
Fa
La
“
Do
La
Sol
Re
Fa
Mi
“
(Do)
Fa
Ti
Do
Sol
La
Ti
How
to
do
Sol-‐Fa
Studies:
Any
Note/Key
can
represent
Do.
Each
day
these
exercises
should
be
tried
in
different
keys
Always
sing
a
Do
reference
before
singing
each
syllable.
If
the
individual
“cells”
(between
the
pause
tracks)
do
not
begin
on
Do,
I
provided
Do
as
a
reminder
in
(
)
so
that
you
sing
it
to
yourself
to
establish
an
internalized
tonal
center.
Sing
Do
to
the
next
note
and
swing
back
and
forth
between
the
syllables
until
you
have
a
secure
inner
sense
of
the
pitch.
Then
sing
Do
and
move
to
the
next
note
in
the
line.
Again
moving
back
and
forth
between
Do
and
the
Solfege
syllable
and
pitch.
Once
that
note
is
established
sing
BACK
DOWN
the
line
towards
Do,
then
go
directly
UP
to
the
next
note
etc.
Note
however
that
just
because
you
are
singing
the
syllables
back
down
the
line
in
that
order,
you
can
still
sing
them
in
different
ranges.
Your
choices
do
not
have
to
be
strictly
within
a
1
octave
scale.
So
in
Example
1,
it
would
flow
like
this:
Do
Re
Do
Re
Do
Re
etc.
Do
Fa
Do
Fa
Do
Fa
Re
Do,
Do
Mi
Do
Mi
Do
Mi
Fa
Re
Do,
Do
Sol
Do
Sol
Do
Sol
Mi
Fa
Re
Do,
Do
to
Do
(^up
8va)
Do
to
Do
(^up
8va)
Do
to
Do
(^up
8va)
Sol
Mi
Fa
Re
Do…
then
take
a
pause
at
the
“
marking.
Once
you
commit
to
a
pitch
in
the
line
in
a
certain
octave,
you
must
keep
that
range
for
the
entire
cell.
However
you
do
have
the
freedom
to
choose
different
intervals
each
time
you
do
the
exercises.
As
your
ears
get
trained
and
you
get
more
tonally
secure,
your
ears
will
lead
and
reach
beyond
the
basic
tight
range
of
a
one
octave
scale.
This
in
turn
will
expand
your
melodic
contours
for
improvisation
and
increase
your
overall
hearing.
For
example
instead
of
singing
up
a
Major
6th
you
could
sing
down
a
minor
3rd.
It
would
be
the
same
syllable
and
pitch
BUT
you
would
be
expanding
your
aural
awareness
and
relying
on
your
muscular
memory
in
different
ways
to
achieve
the
particular
interval.
This
serves
to
develop
the
relationship
between
your
inner
hearing
and
your
muscular
memory.
Both
work
together
to
fuse
pitch
with
syllable.
Once
you
have
drilled
the
exercises
as
explained
above,
you
can
then
set
your
metronome
to
72
(or
a
pulse
which
is
challenging
but
not
too
difficult
where
you
are
unable
to
internalize
what
you
are
hearing).
Read
the
lines
straight
thru
from
left
to
right
taking
a
1
beat
pause
at
the
“
marking
and
hitting
the
last
note
you
sing
at
the
end
of
each
cell
on
the
piano
to
check.
Then
keep
going
to
the
next
cell,
check
ONLY
the
last
note,
go
to
the
next
cell
etc
and
when
you
get
to
then
end
check
again
that
last
note.
Hopefully
you
will
be
on
pitch.
NEVER
sing
with
the
piano.
The
piano
is
only
used
to
check
after
you
have
sung
the
note
first.