For courses in Music Theory (a two-year sequence including sight singing and ear training) as well as separate Sight Singing courses.   Using an abundance of meticulously organized melodies drawn from the literature of composed music and a wide range of the world’s folk music, Ottman provides the most engaging and comprehensive Sight Singing text on the market.   Over fifty years ago, Robert W. Ottman set out to write a book that draws examples from the literature as opposed to being composed by the author.  He proposed that students should work with "real" music as they study musical forms.  The result was Music for Sight Singing.  Not only is real music more enjoyable and  interesting to sing than dry examples, but genuine repertoire naturally introduces a host of important musical considerations beyond pitch and rhythm (including dynamics, accents, articulations, slurs, repeat signs, and tempo markings).  Several generations of teachers have also agreed that Ottman's ability to order his examples from the simple to the complex is another key to the book's long term success. Nancy Rogers, the book's new author, has added new vitality to the book, introducing exercises to develop creativity as well as to build basic skills.

Table of Contents:
MUSIC FOR SIGHT SINGING CONTENTS PREFACE xiii IN MEMORIAM xvii ACKNOWLEDGMENTS xix   PART I MELODY: DIATONIC INTERVALS RHYTHM: DIVISION OF THE BEAT   1 RHYTHM: Simple Meters; the Beat and Its Division into Two Parts 1 RHYTHMIC READING 1 Section 1 (R). The quarter note as the beat unit. Beat-note values and larger only, 3 Section 2 (R). The quarter note as the beat unit and its division. Dotted notes and tied notes, 4 Section 3 (R). Two-part drills, 5 Section 4 (R). Note values other than the quarter note as beat values, 7 Section 5 (R). Two-part drills, 9   2 MELODY: Stepwise Melodies, Major Keys RHYTHM: Simple Meters;The Beat and Its Division into Two Parts 12 SIGHT SINGING, 12 Section 1. Major keys, treble clef, the quarter note as the beat unit. Key signatures with no more than three sharps or three flats, 13 Section 2. Bass clef, 16 Section 3. Other meter signatures, 19 Section 4. Duets, 20 Section 5. Structured improvisation, 22   3 MELODY: Intervals from the Tonic Triad, Major Keys RHYTHM: Simple Meters 24 Section 1. Major keys, treble clef, intervals of the third, fourth, fifth, and octave from the tonic triad. The quarter note as the beat unit, 26 Section 2. Bass clef, 31 Section 3. Interval of the sixth; minor sixth, ˆ3 up to ˆ1, and major sixth, ˆ5 up to ˆ3, or descending, 33 Section 4. The half note and the eighth note as beat units, 35 Section 5. Duets, 37 Section 6. Key signatures with five, six, and seven sharps or flats, 40 Section 7. Structured improvisation, 44   4 MELODY: Intervals from the Tonic Triad, Major Keys RHYTHM: Compound Meters;The Beat and Its Division intoThree Parts 45 Section 1 (R). Rhythmic reading: The dotted quarter note as the beat unit. Single lines and two-part drills, 46 Section 2. Sight singing: major keys, treble clef; the dotted quarter note as the beat unit, 50 Section 3. Sight singing: Bass clef, 53 Section 4 (R). Rhythmic reading: The dotted half note and the dotted eighth note as beat units, including two-part drills, 57 Section 5. Sight singing: The dotted half note and dotted eighth note as beat units, 59 Section 6. Duets, 61 Section 7. Structured improvisation, 63   5 MELODY: Minor Keys; Intervals from the Tonic Triad RHYTHM: Simple and Compound Meters 65 Section 1. Simple meters, 67 Section 2. Compound meters, 72  Section 3. Duets, 74 Section 4. Structured improvisation, 77   6 MELODY: Intervals from the Dominant (V) Triad; Major and Minor Keys RHYTHM: Simple and Compound Meters 78 Section 1. Intervals of the third from the V triad; major keys; simple meters, 80 Section 2. Intervals of the third from the V triad; minor keys; simple meters, 82 Section 3. Intervals of the fourth and fifth from the V triad; major and minor keys; simple meters, 84 Section 4. Interval of the sixth from the V triad; simple meters, 89 Section 5. Compound meters; various intervals from the V triad, 90 Section 6. Numerator of 3, compound meters, 92 Section 7. Duets, 93 Section 8. Structured improvisation, 97   7 THE C CLEFS: Alto and Tenor Clefs 98 Section 1. The alto clef, 99 Section 2. The tenor clef, 104 Section 3. Additional practice in the C clefs, 107 Section 4. Structured improvisation, 108   8 MELODY: Further Use of Diatonic Intervals RHYTHM: Simple and Compound Meters 110 Section 1. Single-line melodies, 111 Section 2. Bass lines, 112 Section 2. Duets, 124 Section 3. Structured improvisation, 125   9 MELODY: Intervals from the Dominant Seventh Chord (V7); Other Diatonic Intervals of the Seventh RHYTHM: Simple and Compound Meters 128 Section 1. The complete dominant seventh chord, 127 Section 2. The interval of the minor seventh: ˆ5 up to ˆ4 or reverse, 128 Section 3. The interval of the tritone, 132 Section 4. Other uses of diatonic intervals of the seventh, 136 Section 5. Structured improvisation, 138 PART II MELODY: DIATONIC INTERVALS RHYTHM: SUBDIVISION OF THE BEAT   10 RHYTHM: The Subdivision of the Beat:The Simple Beat into Four Parts, The Compound Beat into Six Parts 139 RHYTHMIC READING, SIMPLE METERS, 139 Section 1 (R). Preliminary exercises, simple meters, 139 Section 2 (R). Rhythmic reading exercises in simple meters, 140 Section 3 (R). Two-part drills, simple meters, 143 RHYTHMIC READING, COMPOUND METERS, 144 Section 4 (R). Preliminary exercises, compound meters, 145 Section 5 (R). Rhythmic reading exercises in compound meters, 146 Section 6 (R). Two-part drills, compound meters, 149   11 MELODY: Intervals from the Tonic and Dominant Triads RHYTHM: Subdivision in Simple and Compound Meters 152 Section 1. Major keys, 152 Section 2. Minor keys, 157 Section 3. Structured improvisation, 160   12 MELODY: Further Use of Diatonic Intervals RHYTHM: Subdivision in Simple and Compound Meters 162 Section 1. Diatonic intervals except the seventh and the tritone, 162 Section 2. The dominant seventh (V7) chord; intervals of the seventh and the tritone, 174 Section 3. Other uses of the interval of the seventh, 179 Section 4. Structured improvisation, 180   PART III MELODY: CHROMATICISM RHYTHM: FURTHER RHYTHMIC PRACTICES   13 MELODY: Chromaticism (I): Chromatic Nonharmonic Tones; The Dominant of the Dominant (V/V) Harmony; Modulation to the Key of the Dominant 182 Section 1. Chromatic nonharmonic tones. Augmented and diminished intervals created by their use, 182  Section 2. The secondary dominant chord, V/V or V7/V. Modulation from a major key to its dominant key, 187 Section 3. Duets, 209 Section 4. Structured improvisation, 213   14 MELODY: Chromaticism (II): Modulation to Closely Related Keys; Additional Secondary Dominant Harmonies 215 Section 1. Single-line melodies, 216 Section 2. Duets, 233 Section 3. Structured improvisation, 241   15 RHYTHM and Syncopation 243  MELODY: RHYTHMIC READING, 244 Section 1 (R). Divided beat patterns in simple meters, 244 Section 2 (R). Divided beat patterns in compound meters, 245 Section 3 (R). Two-part drills, 246 Section 4 (R). Subdivided beat patterns in simple meters, 248 Section 5 (R). Subdivided beat patterns in compound meters, 249 Section 6 (R). Two-part drills, 250 SIGHT SINGING, 251 Section 7. Divided beat patterns in simple meters, 251 Section 8. Divided beat patterns in compound meters, 260 Section 9. Duets, 263 Section 10. Subdivided beat patterns in simple and compound meters, 268 Section 11. Structured improvisation, 274   16 RHYTHM and Triplet Division of Undotted Note Values; MELODY: Duplet Division of Dotted Note Values 275 RHYTHMIC READING, 276 Section 1 (R). Triplet division of undotted note values, 276 Section 2 (R). Duplet division of dotted note values, 279 Section 3 (R). Two-part drills, 280 SIGHT SINGING, 282 Section 4. Triplet division of undotted note values, 282 Section 5. Duplet division of dotted note values, 291 Section 6. Duets, 295 Section 7. Structured improvisation, 300   17 RHYTHM and Changing Meter Signatures;The Hemiola; MELODY: Less Common Meter Signatures 302  RHYTHMIC READING, 302 Section 1 (R). Definitions and rhythmic reading exercises, 302 SIGHT SINGING, 306 Section 2. Changing meter signatures, 306 Section 3. The hemiola, 309 Section 4. Meters of 5 and 7, and other meters, 314 Section 5. Structured improvisation, 321   18 RHYTHM and Further Subdivision of the Beat; MELODY: Notation in Slow Tempi 322 Section 1 (R). Rhythmic reading, 323 Section 2. Sight singing, 325 Section 3. Structured improvisation, 333   19 MELODY: Chromaticism (III): Additional Uses of Chromatic Tones; Remote Modulation 334 Section 1. Chromatic tones in less common intervals, 334 Section 2. The Neapolitan sixth, 339 Section 3. Remote modulation, 344 Section 4. Structured improvisation, 353   PART IV THE DIATONIC MODES AND TWENTIETH-CENTURY MUSIC   20 MELODY: The Diatonic Modes 354 Section 1. Folk music, 355 Section 2. Composed music, 363 Section 3. Structured improvisation, 371   21 RHYTHM and The Twentieth Century 372 MELODY: Section 1 (R). Meter and rhythm. Rhythmic reading, 372 Section 2. Extensions of the traditional tonal system, 375 Section 3. Symmetrical collections; the whole-tone and octatonic scales, 389 Section 4. Freely post-tonal melodies; twelve-tone melodies, 395 Section 5. Duets, 399 Section 6. Structured improvisation, 406 APPENDIX A: RHYTHM SOLMIZATION 409 APPENDIX B: PITCH SOLMIZATION 412 APPENDIX C: MUSICAL TERMS 415