ws SIGHT READING SUCCESS A SINGER'S RESOURCE for COMPETITIVE SIGHTSINGING by Stan McGill & H. Morris Stevens, Jr. PUBLICATIONS Houston, TexasSTAN McGILL is the choral director at South Garland High School, Garland, Texas, a position that he has held since 1982. Under his direction, South Garland High School choirs have performed numerous times at the conventions of the Texas Music Educators Association, the Southwestern Division ACDA, and the American Choral Directors Association. He is active as a clinician and adjudicator for choral clinics and festivals and has conducted all-state choirs in Arkansas, Connecticut, New Mexico, Oklahoma, and South Carolina. ‘Mr. McGill graduated from William Jewell College in Liberty, Missouri, and received his master's degree from Arizona State University. He has served the Texas Music Educators Association as Vocal Chair and President and the American Choral Directors Association as President of the Southwestern Division. H. MORRIS STEVENS, JR. has been the choral director at Westwood High School, Round Rock, Texas, since 1988, Prior to this, he was the director at McCallum High School, Austin, Texas, and John Jay High School, San Antonio, Texas. From 1993-1996 he conducted the University of Texas Longhorn Singers. He often serves as an adjudicator and clinician for choral contests and festivals and for five years was the Vocal Vice-President of the Texas Music Adjudicators Association. Under his leadership, a New Music Commissioning Project at McCallum and Westwood High Schools has resulted in the commissioning and premiere performances of sixteen choral works. Dr. Stevens received his bachelor's degree from the University of Texas at Austin and his master’s degree in choral conducting from the University of Texas at San Antonio. He recently completed the Ph.D. in Music Education at the University of Texas at Austin. 90 DAYS TO SIGHT READING SUCCESS is a collaborative effort of these two experienced choral directors/teachers to provide students with training exercises to serve as preparation for the competitive sight reading experience. Many of the exercises were derived from materials used for actual auditions. The helpful hints are a compilation of instructions the two directors provided for their own students involved in individual sight reading and auditions. Its their hope that students and teachers alike will find this book very useful in preparing for sight reading competitions.TABLE OF CONTENTS Introduction Basic Sight Reading Procedure Helpful Hints Solfege and Handsigns Key Signatures used on Practice CD Warm-Up Exercises Treble clef Bass clef THE EXERCISES Soprano and Tenor Alto Bass Listing of Rehearsal CD Tracks Ml 12 14 20 27 63 99 136INTRODUCTION This sight reading workbook targets the secondary choir student preparing for vocal sight reading auditions, There are several sight reading methods that could be used. These include moveable do solfege, fixed do solfege, numbers, etc. It is our hope that with daily usage, this workbook will build the singer's confidence and sharpen sight reading skills as they prepare for sight reading auditions. The eight measure exercises are a combination of original compositions and prior sight reading audition examples. The key signatures were selected to fit the comfortable vocal range of each voice part. The “helpful hints" are compilations of nearly fifty years of successful secondary choral teaching, HOW TO USE THIS BOOK This workbook is designed to prepare secondary choir students for sight reading auditions by providing them with materials for individual study, There are 270 eight measure exercises divided into three section Sopranos and Tenors pages 27 to 62 Altos pages 63 to 98 Basses pages 99 to 134 ‘The book is designed to give the student three exercises a day, five days a week for eighteen weeks, This is the equivalent of a school semester. Each week's exercises progress in difficulty, The warm-up exercises are designed with two possible uses in mind. First, the novice will find these easier exercises very helpful in developing confidence and security in the sight reading process. The exercises have no intervals larger than a Major 2", and therefore, develop strength in sequencing syllables together. Second, the exercises also are intended to be used by the experienced reader any time during the 90 day program for review or confidence building. REHEARSAL CD ‘The CD track number beside each exercise refers the singer to the correct keyed accompanied track for that particular exercise. On each track, the singer will hear a tonic triad in broken style, followed by the starting pitch, then thirty seconds of silence. After the period of silence, the tonic triad in broken style will be replayed, followed by the starting pitch. Click tracks: For the beginning sight reader, tracks with a tempo suggested click track are provided. Answer tracks: For the first two weeks, one exercise per day has an answer track provided These answer tracks are noted to the left of each exercise and located on the CD, tracks 17 through 46,BASIC SIGHT READING PROCEDURES 30 Second Practice Period Open the exercise, Identify the key signature, Quickly sing the tonie triad. Sing the starting pitch Practice aloud as rapidly as you can. Sing through the entire exercise one time. Identify and practice the tricky spots before time expires. Be aware of accurate rhythm . .. at a rapid, steady tempo. Utilize hand signs as you study. Final Reading ‘Take a BIG BREATH to focus and relax your mind, Sing the tonic triad confidently. Sing the starting pitch. Give yourself a measure of silent rhythmic pulse. Take a BIG preparatory rhythmic breath. Sing the exercise with a STRONG, SLOW, STEADY beat. Look AHEAD! Don’t let your eyes become stationary on one note. Be aware of the importance of rhythmic accuracy. Hold longer notes to their full value, especially at the end of the exercise,la HELPFUL HINTS BEFORE YOU BEGIN Learn and use your Kodily hand signs. Know your key signatures, This is necessary so you can quickly locate “do.” Remember . . . rhythm is one-half of good sight singing. Be comfortable with how rhythm is notated so that you can sing with rhythmic accuracy. STUDY PERIOD Check your key AND meter signatures before you begin. ‘Take a BIG BREATH before you sing the tonic triad, ‘Quickly tune to the tonic note when you hear the triad. Using your key signature and tonic triad, find the starting pitch’ Remember that sometimes the starting pitch will NOT be the tonic note. ‘Take another BIG BREATH before you begin your study period. Tune STRONGLY, then study QUICKLY, so that you efficiently scan the entire exercise. Look carefully for tricky rhythm patterns Use your hand signs.. Show pitch level by moving your hand signs up and down as the pitches ‘move up and down, Sing aloud the first time as fast'as you can manage. 30 as quickly as you can in order to hear the pitches in your “ear-magination.” ‘Sing aloud during the study period. Do not study silently. ten to yourself as you sing. ‘Keep a steady pulse, moving your arm or hand in tempo, icult spots more than once. Study aggressively... Move purposely . . . Sing the di Do NOT stop! Try to make it through the exercise in thirty seconds, Ifyou come to.a difficult skip, use “fil-in-the-blank" singing. Sing the first note of the interval, then sing every note between it ‘and the second note that you are trying to sing as if it were a scale. Sing that twice quickly, then sing the outside two notes ae themselves, THAT is your intervalACTUAL READING “Take a slow cleansing breath between the study period and your actual reading, Take a BIG BREATH to begin the final reading. Be sure to sing the starting pitch strongly. w. Seid On Wensseeonthen during the actual reading. ‘Your brain processes rhythm faster than pitch. Do NOT rush! Move slowly and steadily so that your eyes move ahead at an even pace. Do not stop in your actual reading. Pauses are rhythmic mistakes. Look ahead. Keep your eyes moving to the next group of notes. ‘Always keep the tonic note in your inner ear, Be sure to give the final note its full value. SUMMARY Use the same practice routine every day! Rehearse in the proper sequence to obtain the maximum benefit. Remember, practice will make you a more literate musician. Rehearse confidently so you will perform the same way. Alternate practicing with the click track, then without it, Sing strongly. It will keep your confidence high. Judge yourself fairly. Do not be overcritical of yourself when you make a mistake, Remember, this is only practice. Tell yourself that you will improve each day. Progress is made a step at a time. Practice each day using the same process, and you will experience suecess over time. Sing the actual reading slowly and deliberately. (Use the click track as you practice to prepare yourself to do this.) Sight reading is great sport. Have fun. Judge yourself. Get stronger every day! ‘Your hard work will take time to pay off. BE PATIENT! ‘You are developing a life-long skill for more musical pleasure. BRAVO!Solfege and Handsigns ‘Hand Signs" ee & 2 = DO (Doh) ‘TI (fee) Latah) 060) ac) MMe) RE (Reh) DO (Doh), o (4) @ 9Key Signatures used on Practice CD C Major Track 3 with a click Track 4 without a click F Major Track 1 with a click Track 2 without a-click G Major Track 5 with a click Track 6 without a click Bb Major Track 11 with a click Track 12 without a clickD Major Track 7 with a click Track 8 without a click Eb Major Track 9 with a click Track 10 without a click A Major Track 15 with a click Track 16 without a click E Major Track 13 with a click Track 14 without a clickWarm-up Exercises Treble Clef C Major m Exercises are designed to be easy warm-ups for the reading process. = No exercises will have an interval larger than a second. = Focus on the accurate movement of pitch and rhythm, = Use CD Track 3 with click or CD Track 4 without click.Warm-up Exercises Treble Clef F Major Exercises are designed to be easy warm-ups for the reading process, ™ No exercises will have an interval larger than a second. = Focus on the accurate movement of pitch and rhythm. ® Use CD Track 1 with click or CD Track 2 without click.17Warm-up Exercises Treble Clef G Major Exercises are designed to be easy warm-ups for the reading process. No exercises will have an interval larger than a second. Focus on the accurate movement of pitch and rhythm, Use CD Track 5 with click or CD Track 6 without click. 18Warm-up Exercises Bass Clef C Major Exercises are designed to be easy warm-ups for the reading process. = No exercises will have an interval larger than a second. ® Focus on the accurate movement of pitch and rhythm, Use CD Track 3 with click or CD Track 4 without click. 2021Warm-up Exercises Bass Clef F Major Exercises are designed to be easy warm-ups for the reading process. = No exercises will have an interval larger than a second. Focus on the accurate movement of pitch and rhythm. Use CD Track 1 with click or CD Track 2 without click.Warm-up Exercises Bass Clef G Major Exercises are designed to be easy warm-ups for the reading process. ‘No exercises will have an interval larger than a second. Focus on the accurate movement of pitch and rhythm, ‘Use CD Track 3 with click or CD Track 4 without click.cdi walk 2 catises wiochck 6 epee 3 wo chck2 cpa Woehck 2 Soprano and Tenor Exercises Week 1 Look at the key signature and the meter signature. Quickly tune to the tonic note when you hear the triad. Sing the first time as fast as you can manage. Sing the actual reading slowly and deliberately. It will be helpful to use the click track as you practice. Day 1aise woth? aie? woclck coast wick? epeik woke? eoeis? 3 woctce asner20 co aie occ epeta wie clk Reever) cack s Eveciae B ; Exercise Apeek 13 wots it coeik wosck& Soprano and Tenor Exercises Week 2 Sing strongly. It will keep your confidence high. Look ahead. Keep your eyes moving to the next group of notes. Do NOT stop! Try to make it through the exercise in thirty seconds.Det wlocick? © | coaias Tweets ‘Answer 25 o | wein S| weoateaz Bei ‘lecick2 aia: woclck 6 Breit BSoprano and Tenor Exercises Week 3 © Always keep the tonic note in your inner ear. © Ifyou come to a difficult skip, use "fill-in-the- blank" singing. Sing the first note of the interval, then sing every note between it and the second note you are trying to sing as if it were a scale. Sing that twice quickly, then sing the outside two notes by themselves. THAT is your interval. Day 1 pat wo cick? epee ts iol i 31 | | |sick woth? eas oebek ap j co ai wi ask 6eDelek? wodkk’ coats ‘whe 10 Soprano and Tenor Exercises Week 4 Take a BIG BREATH before you sing the tonic triad. Take another BIG BREATH before you begin your study period. Take a slow cleansing breath between the study period and your actual reading. Take a BIG BREATH to begin the final reading. Day 1Day 3 Frese A codick 3 J wosbek 13 weclcké xarie B epetn ‘wostck 10 pete ‘wisek 2 Day 5 coach! Re peice coe wioclck 10 34epetice: lock 2 cocky woe 10 pete s wok belek 13 wwosick It Soprano and Tenor Exercises Week 5 Learn and use your Kodaly hand signs. Keep a steady pulse, moving your arm or hand in tempo. Show pitch level by moving your hand signs up and down as the pitches move up and down. Day 1cpetie s wots 6 cei oct? Day 4 epee wo sok6 cpa? 3 win etek 10 Everio A Dates wot ceive wwoctick? alk? ‘sclSoprano and Tenor Exercises Week 6 © Remember . . . rhythm is one-half of good sight singing. Be comfortable with how rhythm is notated so that you can sing with rhythmic accuracy. © Your brain processes rhythm faster than pitch. Do NOT rush! © Be sure to give the final note its full value. Day 1 cosine! woslek2 coats 9 wel 10 evens 2 ‘Wolk 6cpaik? otek : epetiek wo dik? coat wosiee? Delis ‘woe 6 woelck 14 cick 3 Wioetek i¢ epetk 3 ‘woetce 4 cei wioclekcei! wioctck2 coat? wos Soprano and Tenor Exercises Week 7 Know your key signatures. This is necessary so you can quickly locate the tonic note. Remember that sometimes the starting pitch will NOT be the tonic note. Be sure to sing the starting pitch strongly. Day 1 39.Dele? wot § pets wok 6 cst wlosiek coeiees wo ek 10 cei! ‘wos cDekek swiosak? eaten woclek6 epetiea 3 wi eck 14Soprano and Tenor Exercises Week 8 © Alternate practicing with the click track, then without it. © Move slowly and steadily so that your eyes move ahead at an even pace. © Do not stop in your actual reading. Pauses are rhythmic mistakes. Day 1 epee 3 winch 14 Bree C veri A eveick ‘wo cck 2 codiks woke §we ccké epee ioe 2 cpa? wick wait woclck2 ete s coetek7 woth cet swostek2 coca s wo lek 6 Day 3 Day 5 42Soprano and Tenor Exercises Week 9 © — Confidence is everything in sight singing. © Tell yourself that you will improve each day. © Judge yourself fairly. Do not be overcritical of yourself when you make a mistake. Remember, this is only practice. Day 1 Dicks coe wocek 6coset s coetie? och 8 Cred waste 10 pete west & epetck? wactck§ cDetk swostck 6 erie A epee! swolck2 dete wok cosias woctckSoprano and Tenor Exercises Week 10 © Check your key AND meter signatures before you begin. © Using your key signature and tonic triad, find the starting pitch. Remember that sometime the starting pitch will NOT be the tonic note. © Sight singing is great "sport." Have fun. Judge yourself. Get stronger every day! Day 1 Exercise € Day 2 Dalek 13 ‘weal 14coeik J ‘wostak2 epee 3 wostck 16 cpeiens wok cDelek? nosis cD shoes ‘west 10 cpaiant Wolk? cD lees wots 46Data ‘woeice 10, Soprano and Tenor Exercises Week 11 Listen to yourself as you sing. Go as quickly as you can hear the pitches in your “ear-magination." Progress is made a step at a time, Practice each day using the same process, and you will experience success over time. Day 1ei wo cick 2 “CDslck 5° woeleksSoprano and Tenor Exercises Week 12 © Scan the entire exercise for tricky rhythm patterns. © — During the study period, go fast, yet steadily. actual reading. Bree B coetickt wok 2 codias Ze wo ck 6 49Day 3 serve cpeticks wo Dectce woes cpdie 5 whochet2 cDeteks ‘wostck 10 Day 5 eDetexs we cick cpeteks Wwiostck 10 Exerue epetxs 3 wokeSoprano and Tenor Exercises Week 13 Sing your tune-up very strong and confidently. Take another BIG BREATH before you begin your study period. e Tune STRONGLY, then study QUICKLY, so that you efficiently scan the entire exercise. Day 1 ais west 10 sins wioclck 6 aie wwoclck§ ets woctickcoat Datei loch 2 cai wodlck 6 Day 4 cai woslice? cDekek7 ‘woshok Day 5 wioctek & coainy wioclck 10 coetek wioehck? 52 iiaSoprano and Tenor Exercises Week 14 © Scan the entire exercise quickly before you start the study period. © Study aggressively ... Move purposely . .. Sing the difficult spots more than once. © During performance .... sing at a slow, even pace. Practice with the click track. Day 1 eo sic 1s wot 1 cei Ww csk2 Exerie B Decker ‘ose 10 codiks J weeks , 33Delian s wok ceive! wioclck2 cosas wiostces wei 3 waste ie cDetick ‘wolick 10 venue epetixs wok 54emai? woclek coc woeka? Deeks wostek CD lek? wo lek & Soprano and Tenor Exercises Week 15 Sing during the study period. Do not study silently. Rehearse confidently so you will perform the same way. Ever A BrerieBcDeteks wlosbak coaix? cpalied 5 ‘stick 10 pete swe stce 10 4 cD etek? wo stek cet! ‘wok 2 click emetens wactck 10 xeriee ASoprano and Tenor Exercises Week 16 © — Keep your eyes moving from left to right. e Remember to use ": the difficult intervals. in-the-blank" singing for © Use your hand signs deliberately! Show pitch level with level of hand signs. Exerin © cei wioelck§coats weclck 6 cDetce9 ‘wie 10 eosin wlochok coetkt ari A peli 13 ‘stick cDclick = wo tie? 58Soprano and Tenor Exercises Week 17 © Use the same practice routine every day! Rehearse in the proper sequence to obtain the maximum benefit. © Tune STRONGLY, then study QUICKLY, so that you efficiently scan the entire exercise. e Read at a DELIBERATE pace... Don’t Stop! Day 1 Baers A codixs 34 woclce Dei wot? Day 2 coats wioctek 6 cpclck 1s 59Debs week 6 cDstans switch 10 cei woclk 143 cat wok 2 cDekek? Exercise A cel? och 8 epatans wo eek 10 cbctce ‘wostick 60Dalek woclcks cbetiek 13 wo eek 14 Soprano and Tenor Exercises Week 18 Remember, practice will make you a more literate musician. Your hard work will take time to pay off. BE PATIENT! You are developing a life-long skill for more musical pleasure. BRAVO! Day 1cbeteks welch 1¢ cociexs wot cpekck7 wociee eDetiex ‘wet 10 Exerie B cDetek— ‘wo sae?Alto Exercises Week 1 © Look at the key signature and the meter signature. © — Quickly tune to the tonic note when you hear the triad © Sing the first time as fast as you can manage. Sing the actual reading slowly and deliberately. It will be helpful to use the click track as you practice. Day 1 Day 2 epetice wot 12 cpetices 63Exar A coe Wwiocck§ pals ‘octet rover eDelek? woe § ‘anewer 30 cDeliek7 etic 1 Wwoetck 12 Day 5Alto Exercises Week 2 © Sing strongly. It will keep your confidence high. © Look ahead. Keep your eyes moving to the next group of notes. © — DoNOT stop! Try to make it through the exercise in thirty seconds. cDekex3 wok coctek9 ‘wosbek 10 Exerc A cDetck 15 Inower 33 65Day 3 Bee A cli coeian Wolk 12 Esarie A cDelek wl 10 eDelck wo click 12 Rnenerss peeks wi Exercise A epelk tt 3 votes 12 eDelek tt wok 12 66Alto Exercises Week 3 © Always keep the tonic note in your inner ear. © Ifyou come to a difficult skip, use "fill-in-the- blank" singing. Sing the first note of the interval, then sing every note between it and the second note you are trying to sing as if it were a scale. Sing that twice quickly, then sing the outside two notes by themselves. THAT is your interval. Day 1 peice Wwioetck 12 Beatie € cDetek3 wwostink cocks % cDelek3 welch & pete 1s wostck 16Exerise A cDeiex 2 wo clck 12 cDeiee3 wi slces ep cies mets SuerieB cDelce 11 xerie €Alto Exercises Week 4 ' © Take a BIG BREATH before you sing the tonic triad. © — Take another BIG BREATH before you begin your study period. e Take a slow cleansing breath between the study period and your actual reading. Take a BIG BREATH to begin the final reading. Day 1 Ererie B xeric A Dalek 11 ‘wot 12 cDelek9 ‘wotick 10cD elee 1s wioclce 16 wo ciak Dalek 1 swe 12 cD etek 3 wiolck + estks wot 4 Date 11 woe 12 ep cicns wo lee 10 Day 5Alto Exercises Week 5 © Learn and use your Kodaly hand signs. © Keep a steady pulse, moving your arm or hand in tempo. © Show pitch level by moving your hand signs up and down as the pitches move up and down. Day 1 Brarcise A Defoe 11 wot 12 esis wo cck 4cDebek? woskok 5 cDekek ‘wl 12 cD ices ‘wei 10 ep etice 11 wocliek 12 paerieB co atn? weiAlto Exercises Week 6 © Remember... rhythm is one-half of good sight singing. Be comfortable with how rhythm is notated so that you can sing with rhythmic accuracy. | © — Your brain processes rhythm faster than pitch. Do NOT rush! oe Be sure to give the final note its full value. Day 1 Dai? oleh §Day 3 swiocick 8 patie tt wok 12 ei wots 12 cost 1 ‘wots 12 wwostck 10 coeien 15 3 wiostck 16 4Alto Exercises Week 7 © Know your key signatures. This is necessary so you can quickly locate the tonic note. © Remember that sometimes the starting pitch will NOT be the tonic note. © —_Besure to sing the starting pitch strongly. Day 1 sacs € Cres) ‘wostce § ExerizeA cDekck7 swoliek‘eDeteks |] west odie 7 ‘wo ciek 12Alto Exercises Week 8 © Alternate practicing with the click track, then without it. © — Move slowly and steadily so that your eyes move ahead at an even pace. e Do not stop in your actual reading. Pauses are rhythmic mistakes. ExeraeB epetik wel 12Alto Exercises Week 9 © — Confidence is everything in sight singing. © Tell yourself that you will improve each day. © — Judge yourself fairly. Do not be overcritical of yourself when you make a mistake. Remember, this is only practice. Day 1 Ererie A Deke 1t = we ck 12 cpeicks wioctck 10 Presi € epetek 1s ‘wots 16 719belek 1 ‘wot 12 cis wok cDekee wiodlk 12 1 80Alto Exercises Week 10 © Cheek your key AND meter signatures before you begin. ©. Using your key signature and tonic triad, find the starting pitch. Remember that sometime the starting pitch will NOT be the tonie note. © Sight singing is great "sport." Have fun. Judge yourself. Get stronger every day! Day 1 cDetck 11 wockex 123 coats s 81coe wocloka eo eiek 15 oles 16 cose wo clck® epee? wioslse costae 3 we clk 10 cocker s ‘wo lied Brerise 8 cD elck? wie slse§ epetee wok 12Alto Exercises Week 11 © Listen to yourself as you sing. © — Goas quickly as you can hear the pitches in your “ear-magination." © Progress is made a step at a time. Practice each day using the same process, and you will experience success over time. Day 1 evatiok is wo lik 16 weddiek coeik 1 ‘wot 12 coves ‘wots 10Day 3 coe tt wl 12 coats woaia X05 aia wishes Day 4 emai wodlicks ‘wlick 10 cei we cick 12 cpeticks ‘wick 16Alto Exercises Week 12 © Scan the entire exercise for tricky rhythm patterns. © During the study period, go fast, yet steadily. . S. actual reading. Exercise A versie B Exercise A costes weds pete 11 wo click 12cpeines wel pede 1 ode 123 Dalek wot coeiees cpetix swostck 10 eDetek? ‘wos pete 1 week 12 cei woctck 10 pate 11 wok 12 86coaie3 ‘wie coatik ‘woclek 12 Alto Exercises Week 13 Sing your tune-up very strong and confidently. ‘Take another BIG BREATH before you begin your study period. Tune STRONGLY, then study QUICKLY, so that you efficiently scan the entire exercise. 87,cei ‘lock 10 cet wostce 12 Day 4 cDclck7 week cele ty wo hick 12 eDetk? wi epatex ‘wek 10Alto Exercises Week 14 © Scan the entire exercise quickly before you start the study period. © Study aggressively... Move purposely . . . Sing the difficult spots more than once. © During performance... . sing at a slow, even pace. Practice with the click track, vase A cD ek 15 wo ste 16 ceiks wok Exit € cai woth epetck ‘wo ek 10 Baer C Deca 1 3 weer 12 89i epetces woelic10 pete 11 ‘west 12 Deke 3 swiosiakd coi wi eek cate otek 12 cDelek 1s wioslck 16 coetck = woe 10 90.Alto Exercises Week 15 © Sing during the study period. Do not study silently. © _ Rehearse confidently so you will perform the same way. epaties wloclick 10 (Defies 18 wo lek 12cDetee 1 J ww click 12 eaik?eis octick 10 Alto Exercises Week 16 Keep your eyes moving from left to right. Remember to use "fill-in-the-blank" singing for the difficult intervals. Use your hand signs deliberately! Show pitch level with level of hand signs. 93i epcicks wioeliek 10 coda? wot Dele 11 wo cick 12 eDelees wot pete? wok 94Alto Exercises Week 17 © Use the same practice routine every day! Rehearse in the proper sequence to obtain the maximum benefit. © Tune STRONGLY, then study QUICKLY, so that you efficiently scan the entire exercise. e Read at a DELIBERATE pace... Don’t Stop! Day 1 cDetsk 5 ole 16 epcik 1 wok 12 95: Deke 1 swostick 12 eDeiens ‘so sise 10 oct s wot 16 Day 4 coax woctck 4 pati wl 12 cpetcks sweetie 10 cDetiek— wot 16Alto Exercises Week 18 © Remember, practice will make you a more literate musician. © Your hard work will take time to pay off. BE PATIENT! © You are developing a life-long skill for more musical pleasure. BRAVO! Day 1 eDetek 5 ‘week 16 97cick 5 week 15 cDetick 17 wo eek 12 esice woctas epelik woh 10 cai welch § cies cei 1 98catises wohl cpetick 11 ‘wet 12 Bass Exercises Week 1 Look at the key signature and the meter signature. Quickly tune to the tonic note when you hear the triad. Sing the first time as fast as you can manage. Sing the actual reading slowly and deliberately. It will be helpful to use the click track as you practice. Day 1co stck? we sick § Deke? wiosak epetices ‘ws oewer 38 cDskek3 swockekd At cDetek7 ocak Iaaewer 40 cpekek cD elck 12 100Bass Exercises Week 2 © Sing strongly. It will keep your confidence high. © Look ahead. Keep your eyes moving to the next group of notes. © Do NOT stop! Try to make it through the exercise in thirty seconds. cociees OE Exenise 8 epetia 9 wieciee 10 8 exercise € cai? wo elk &coatck9 wioekek 10 ‘oewer 44 wien 3 coe cpetce 11 Wwe clk 12 evens wioclcn epatix tt 2 ‘wroctck 12 bate Day 3 102cain wid cpa otek 12 eDalck 1s wo ctce 16 Always keep the tonic note in your inner ear. If you come to a difficult skip, use "fill-in-the- blank" singing. Sing the first note of the interval, then sing every note between it and the second note you are trying to sing as if it were a scale. Sing that twice quickly, then sing the outside two notes by themselyes. THAT is your interval. Day 1 Day 2pete 1 walk 12 epee? wots = coats woekeks veri A eDekek 15 Day 5 cee wold eDekee Wo clek 12Bass Exercises Week 4 © Take a BIG BREATH before you sing the tonic triad. © Take another BIG BREATH before you begin your study period. © Take a slow cleansing breath between the study period and your actual reading. Take a BIG BREATH to begin the final reading, Day 1 eociea? Wo skce xacee 8 cD eens =s ‘wie d Delt ‘whch 12 Delo 13 ‘wot 12 Bvereiae BrerciseCExerc A cD abe ts cei wiekeks eo sick wodiek belek wel 12 eoaicc otek 10 Bese cvatek 3 woclick« etic wrt eDelsk 11 ‘weet 12 = cDetek wioclck to 25 106coetek9 wobek 10 coaia ‘wok 12 cpa wodkk ep cick 11 cosiees ost 16 Bass Exercises Week 5 Learn and use your Kodaly hand signs. Keep a steady pulse, moving your arm or hand in tempo. Show pitch level by moving your hand signs up and down as the pitches move up and down. Day 1Exeniso A codia? 3 coeiat oli & epoteks wastes Det 1 wot 12 eDetek ‘wiosck 10 Exess € coaieks 5 woth Day 5 tik 1 Wo click 12 Exerc €Bass Exercises Week 6 © Remember ... rhythm is one-half of good sight singing. Be comfortable with how rhythm is notated so that you can sing with rhythmic aceuracy. © Your brain processes rhythm faster than pitch. Do NOT rush! © — Besure to give the final note its full value. Day 1 coer versie € coat 11 solic 12 cD etek Wks 10 Faerie etic Wwoctck 12cei 1 cpetee1t wo ck 12 coaiee ‘wo slck 12 Dele 15 ‘wos 16 Day 4Bass Exercises Week 7 © Know your key signatures. This is necessary so you can quickly locate the tonic note. © Remember that sometimes the starting pitch will NOT be the tonic note. © —_ Besure to sing the starting pitch strongly. Day | cDaticks ‘octet Day 2 epstec3 wostcks Deke? woctekDay 3 peices ‘wok cpetak? wocck pete ‘ose 12 Day 4 ‘eDetice 11 Beech B coats woctek 10 Day 5 epee ‘wold jeer Det 15 otk 16Bass Exercises Week 8 © Alternate practicing with the click track, then without it. © Move slowly and steadily so that your eyes move ahead at an even pace. © Do not stop in your actual reading. Pauses are rhythmic mistakes. Day 1 cpetixs wot ¢ xacse cpelck 11 ‘wo etok 2 raise A pets soli 4 beter ‘wel 12 113wl 12 costes oclck 4 cette wochek 8 Detek 1 ‘woh 12 coat 1s ol 16 Exeriue€ serie A vere A 4| | cpeia ny ‘wok 12 Dele Is oc 16 Bass Exercises Week 9 Confidence is everything in sight singing. Tell yourself that you will improve each day. Judge yourself fairly. Do not be overcritical of yourself when you make a mistake. Remember, this is only practice. erie A Day 2 erie € 1sEvert A cocteen FE ‘wotsk 12 evel? wisoiak costs ‘wo slck 10 Deka epetek7 wociae epetek waste 12 woctek Det cD elek 11 116eDetick 11 Ww eek 12 epetek 14 ‘wos 12 coax ‘wc 4 cpetices ol 16 Bass Exercises Week 10 Check your key AND meter signatures before you begin. Using your key signature and tonic triad, find the starting pitch. Remember that sometime the starting pitch will NOT be the tonic note. Sight singing is great "sport." Have fun. Judge yourself. Get stronger every day!pater wl eDetick is ‘wos 16 cD eice? wosiae coat woctck eatin wioclee¢ codes wwoclick¢ cD ctick? wioclck§ coatBass Exercises Week 11 © Listen to yourself as you sing. © — Goas quickly as you can hear the pitches in your "ear-magination." e Progress is made a step at a time. Practice each day using the same process, and you will experience success over time. Day | eDetiek 11 ‘wok 12cai wosliek 12 pains wlselees pains. wie bei ice eau woth 16Bass Exercises Week 12 © Scan the entire exercise for tricky rhythm patterns. © During the study period, go fast, yet steadily. ° Ss. actual reading. 1h... Wer ..during the Deke wo eee 12 eas wl’ Exercise C epetex 4 woeiek 25 121cpeteks swede d belek 1 ‘noc 12 cDebek7 wok 8 veri A ‘wield epeiek swe 10 Ercse coat? Wwoctck 8 epeten ‘wots 10 Esarse © conan 35 ww le 12 122pein ‘we cek + | eo et Sigstce 12 wai whisk peli 13 Hinelek 6 Bass Exercises Week 13 Sing your tune-up very strong and confidently. Take another BIG BREATH before you begin your study period. ‘Tune STRONGLY, then study QUICKLY, so that you efficiently sean the entire exercise. Day 1cai wie 10 pele wots 12 epee? we lk cDetek 1 ‘wok 12 coaik? wok cei cbetek wok 10 cDebek— wi Exec A EventeB Dapper tee B exacke A 124Bass Exercises Week 14 © Scan the entire exercise quickly before you start the study period. © Study aggressively ... Move purposely difficult spots more than once. Sing the © During performance .. . sing at a slow, even pace. Practice with the click track. Day 1 uae A atic 5 Wioebek 16 ais | woctscet ole 10 Det ‘wot 12 csicks wosice« cDetek3 ‘wo sak etc s oct 16 cDeten? wot 8cD oiees ‘wots 10 cpetex? wi ik cDetex? ‘wos cdi otk 12 Bass Exercises Week 15 Sing during the study period. Do not study silently. Rehearse confidently so you will perform the same way.elk 1 wok 12 sixes walk 10 eDeiek? wiotck 6 128Bass Exercises Week 16 © Keep your eyes moving from left to right. Remember to use "fill-in-the-blank" singing for the difficult intervals. © Use your hand signs deliberately! Show pitch level with level of hand signs. Day 1 cDetcks wo ck 10 cocie? Wiockcks Bverie A cpaia st woelick 12 Beecieee cpetee9 wos 10 129Defek 11 csi? wok § Crea wots 16 coctex~ wos « , 130cD aik 5 wo eek 16 cele 1 ‘nol (2 Deters ‘wok 10 Date 9 swosok 10 Bass Exercises Week 17 © Use the same practice routine every day! Rehearse in the proper sequence to obtain the maximum benefit. © — Tune STRONGLY, then study QUICKLY, so that you efficiently scan the entire exercise. © Read at a DELIBERATE pace ... Don’t Stop! Day 1epee 12 woe 12 coats can 1s week 6 cosiek3 wet cate 11 wok 2 eosin? cpa ole & codiek ‘sl 10 vai wokBass Exercises Week 18 © Remember, practice will make you a more literate musician. © Your hard work will take time to pay off. BE PATIENT! © You are developing a life-long skill for more musical pleasure. BRAVO! Day 1 ace A ck 5 wi lice 6cece s ashok 16 cack = wel’ coats) wwe 12 eins woctoes cD ekek? wwieetck& coats wo cee 10 cpelk 11 ‘wolck 12 Day 5Rehearsal CD Tracks Answer Tracks ‘Track 17 Track 18 Track 19... Track 20... eMac 21sec te ue Track 22... cee eeeceee Track 23... Track 24.2.0... Track 25 ¢... Track 26...... ‘Track 27 Track 28... eee eee Track 29... .eeeeseeaes ‘Track 30 Track 31 Track 32... Track 33... Track 34 ‘Track 35 Track 36 ‘Track 37 Track 38 . Track 39 Track 40... ‘Track 41 Track 42, Track 43... Track 44... Track 45... Track 46 .. + Soprano & Tenor Week 1, Day 1, Exercise A + Soprano & Tenor Week 1, Day 2, Exercise B «Soprano & Tenor Week 1, Day 3, Exercise C Soprano & Tenor Week 1, Day 4, Exercise B Soprano & Tenor Week 1, Day 5, Exercise A Soprano & Tenor Week 2, Day 1, Exercise C «+» Soprano & Tenor Week 2, Day 2, Exercise C «Soprano & Tenor Week 2, Day 3, Exercise B «Soprano & Tenor Week 2, Day 4, Exercise B Soprano & Tenor Week 2, Day 5, Exercise A Allto Week 1, Day 1, Exercise A ~ Alto Week 1, Day 2, Exercise B secssesees Alto Week I, Day 3, Exercise C Alto Week 1, Day 4, Exercise B «Alto Week 1, Day 5, Exercise A « Alto Week 2, Day 1, Exercise C « Alto Week 2, Day 2, Exercise C - Alto Week 2, Day 3, Exercise B Alto Week 2, Day 4, Exercise B Allto Week 2, Day 5, Exercise A «+ Bass Week 1, Day 1, Exercise A - Bass Week 1, Day 2, Exercise B + Bass Week 1, Day 3, Exercise C - Bass Week 1, Day 4, Exercise B Bass Week 1, Day 5, Exercise A «Bass Week 2, Day 1, Exercise © ‘Bass Week 2, Day 2, Exercise C «Bass Week 2, Day 3, Exercise B «+» Bass Week 2, Day 4, Exercise B - Bass Week 2, Day 5, Exercise A Rehearsal Tracks «_ F Major with click Track 9 ......2ses.. Eb Major with click F Major without click Track 10 ........ Eb Major without click +. © Major with click Track 11 Bb Major with click = C Major without click Track 12 Bb Major without click seesees G Major with oiek ‘Track 13. E Major with click +++. G Major without click Track 14 .......... E Major without click D Major with click Track 15... ‘A Major with click D Major without click Track 16 ......... A Major without click ‘Mr. McGill and Dr. Stevens wish to thank Mr. Gene Raymond, choral director at A. N. McCallum High School ‘Austin, Texas, for his assistance in the production of the master rehearsal CD. 136