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Bog, hæftet Methodical Sight Singing: Part I. The Beginning; Part II. Through the Keys; Part III. Progressive Musicianship; A Method of Private and Class Instruct af Frederic Woodman Root

Methodical Sight Singing: Part I. The Beginning; Part II. Through the Keys; Part III. Progressive Musicianship; A Method of Private and Class Instruct

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Excerpt from Methodical Sight Singing: Part I. The Beginning; Part II. Through the Keys; Part III. Progressive Musicianship; A Method of Private and Class Instruction in the First and Fundamental Requirements of Music; Including the Science of Music Reading

In this regard mus... Læs mere

Excerpt from Methodical Sight Singing: Part I. The Beginning; Part II. Through the Keys; Part III. Progressive Musicianship; A Method of Private and C... Læs mere

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Sprog:
Engelsk
ISBN-13:
9781333900267
Sideantal:
140
Udgivet:
01-10-2016
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Excerpt from Methodical Sight Singing: Part I. The Beginning; Part II. Through the Keys; Part III. Progressive Musicianship; A Method of Private and Class Instruction in the First and Fundamental Requirements of Music; Including the Science of Music Reading

In this regard music reading for singing differs essentially from the mentality involved in reading instrumental music.

Nearly all adults and the majority of children have an acquaintance with common melod. '3 forms before taking up the study of music reading. This acquaintance they have acquired a I they have gained a knowledge of their language, through the sense of hearing unconsciously I exerted. Church music or popular song in some of its phases are familiar experiences of every day life. But this knowledge is at first exclusively associated with the sense of hearing. When the time comes to learn to read music, another sense must be trained to bring to the mind a correct concept of music. Then it is found that the mind turns so persistently to the suggestions of the ear, its first and habitual dependence, that a long course of study, with concentration and effort, is often required before the eye leads the thought securely and independently in music. At last, however, one learns to hear with the eye, and the goal is attained. Reading music is no longer guess work, depending upon the ear, a precarious process giving occasion to the unconsciously humorous statement, some days I can read music quite well!

Still there is much training to be done to the ear which must be taught to classify and associate tones systematically. One must also learn to see with the ear. The sense of key note, tonality or key-relationship, and intervals, must be established through the hearing.

Generally the beginner has a fair sense of rhythm at the outset; but unless this be specially cultivated it is sure to become obscured by being made secondary to other considerations. While intent upon thinking out pitch problems, for instance, the learner usually neglects rhythm altogether.

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