Personal Name: Kreter, Leo, 1933. Publication, Distribution, et. Englewood Cliffs, . Prentice-Hall, (c)1976. On this site it is impossible to download the book, read the book online or get the contents of a book. The administration of the site is not responsible for the content of the site. The data of catalog based on open source database. All rights are reserved by their owners. Download book Sight and sound : a manual of aural musicianship, Leo Kreter.
Home All Categories Sight and sound: A manual of aural musicianship. ISBN13: 9780138099053. Sight and Sound : A Manual of Aural Musicianship. ISBN13: 9780138099138.
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Kreter, Leo. Sight and Sound: A Manual of Aural Musicianship. Englewood Cliffs, NJ: Prentice-Hall, 1976. Progressive Sight Singing. The Musician’s Guide to Aural Skills: Sight-singing, rhythm-reading, improvisation, and keyboard skills. 1 and 2. New York: NY: . Pratt, George, Michael Henson, and Simon Cargill. Aural Awareness, Principles and Practice. Bristol, PA: Open University Press, 1990. A short paper book giving concise rules based on the music of Lassus. Goes through 3-part . Roberts, Stella and Irwin Fischer. A Handbook of Modal Counterpoint. New York, NY: Schirmer Books (Free Press), 1967. Modal Counterpoint, Renaissance Style.
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Sight-singing, Ear training. Simple meter, rests and phrases : the major mode, major triads and tonic function. Compound meters, ties and dots : the minor mode and inverted triads. Changing meter : the second division in compound meter : the dominant sound. Triplets and duplets : seventh chords and predominant function. Less common meters : C clefs and harmonic progression. Syncopation : beginning non-modulating chromaticism.
This book is consistent with keeping your sight-singing skills up to par. However, as far as aural skills it is lacking. Students are asked to notate rhythmic elements, sound the rhythms without pitch, and ‘vocalize’ a particular voice, performing solo or with a partner. The authors of ‘Developing Musicianship Through Aural Skills’ believe that pitch relationships should always be conceived, comprehended and executed within the context of diatonic harmony – either specific major/minor scales or derived from underlying chords in a particular harmonic setting.