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Sight-Sing Any Melody Instantly [Anglais] [Broché]

Mark Phillips
5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
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Description de l'ouvrage

1 janvier 2000
Wouldn't you like to look at any melody and instantly know how it sounds? If so, then this book is for you. This book teaches you a sight-singing technique or trick that truly works, how to memorise the sound of each scale degree. Once you've memorised these sounds, you'll be able to sight-sing any melody instantly. This book is suitable for anyone who wants to be able to look at written music and hear the sound of the notes in their head.

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Détails sur le produit

  • Broché: 80 pages
  • Editeur : Cherry Lane Music Company (1 janvier 2000)
  • Langue : Anglais
  • ISBN-10: 1575605147
  • ISBN-13: 978-1575605142
  • Dimensions du produit: 0,7 x 23,6 x 28,5 cm
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 234.527 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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Commentaires client les plus utiles
5.0 étoiles sur 5 très bien pour débuter 22 mai 2012
Par Miles
Format:Broché|Achat vérifié
Ce livre utilise la méthode tonale pour apprendre à chanter ou entendre intérieurement des partitions.
Cette méthode s'avère plus efficace que la méthode intervallique, dans la mesure ou écoute et joue essentiellement de la musique tonale.

Il ne demande pas un grand niveau de lecture, mais il vaut mieux avoir les bases de la notation du solfège.
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Amazon.com: 4.3 étoiles sur 5  11 commentaires
29 internautes sur 31 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Sight-Sing Any Melody Instantly?? 1 avril 2007
Par D. Truter - Publié sur Amazon.com
Format:Broché
The title of this book promises to teach you to "Sight-Sing Any Melody Instantly". A more appropriate title would have been: "An Introduction to Sight-Singing".

The author rejects the 'interval method' as "flawed" - he says it "doesn't work". Yes, it is true that this time-honoured method has its limitations, but so has the method ("trick") that the author advocates. In fact the author writes "as you become more proficient in sight-singing, you'll gradually memorize the sounds of the various scale degrees and thus be able to sing pitches automatically; that is, you won't actually have to go through the ordeal of pretending you're going to sing a famous song for every note you see." Towards the end of the book the author concedes that "although in general I strongly oppose the use of intervals in sight-singing ... sometimes they are indeed the best (or only) choice." The author then provides a very brief description of how you can learn intervals and includes an appendix listing and describing them. The author also uses another time-honoured method to learn how to sing at sight - memorising the relationships the various scale degrees have to each other in major and in minor keys, eg memorising what degrees 1, 3, 5 sound like across major keys.

The main shortcoming of the book (a thin book) is that there are not nearly enough practise exercises to be able to "sight-sing any melody instantly". And, the exercises that are provided do not include markings to indicate tempi, dynamics, articulations or phrases (these are all part of singing a melody). Also, the author writes that the "exercises presented here contain no difficult or tricky rhythms ... I wrote all the examples in common keys only ... and in the treble clef only." Finally, the author seems to imply (at least at the start of the book) that you can learn to sing at sight without using an instrument. I would strongly recommend an (inexpensive) electronic keyboard so that you can check the accuracy of the pitches you sing (not necessarily for every note or exercise).

The 'trick' the author describes is one way to begin the journey and it is a useful strategy to sing the first note of an unseen song (when there is no accompaniment or pitch pipe). Personally I found the general approach adopted by other sight singing books to be quicker and easier, ie going straight to learning the relationships the tones have to each other in different keys (the author's second method). To memorise scale degree relationships, to sing challenging rhythms, phrases, staccatos, crescendos etc requires consistent practice with a LOT of carefully graded unseen material. For most of us there is no short cut to acquiring the skill of sight-singing "any melody instantly".
13 internautes sur 14 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Misleading title but good anyway 23 septembre 2005
Par An Architect - Publié sur Amazon.com
Format:Broché|Achat vérifié
Learning by this method does not happen "instantly", at least not for everyone. A lot of practice is necessary before one can become quick at recognizing each key and mapping the memorized seven notes onto a staff. It's taken a couple of weeks to get halfway through the book. My choral director told me there are faster ways of learning. Having said that, I can give the publication high marks because it actually works. I may be slow, but if given enough time I can accurately hit the right notes. At rehearsals my sight reading has improved noticeably and I'm starting to get a feel for other keys besides C major.
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 This works. It's as simple as that. 5 avril 2013
Par T. G. - Publié sur Amazon.com
Format:Broché|Achat vérifié
First of all, people are misinterpreting the usage of "Instantly" in the title. I feel as though you couldn't have progressed past 5th grade to not understand this, but I'll explain it anyway. What "instantly" is referring to is the fact that when you master the method taught in the book, you will essentially be able to instantly conjure up the correct pitch that corresponds to the given notation. By way of elimination, you can then infer that "Instantly" does not mean that the exact moment the book is opened, the gods will bless you with the divine power of impeccable and unhesitating sight singing. This may come as a surprise, but even Instant Noodles are not in fact, "instant". For anyone that does not spend time deliberately inhaling paint fumes, this book will work just fine for you. For those of you who might argue that even trained sight singing is never technically an instant process, and that the title is therefore still misleading, that may be true, but as a title it's accurate enough for any reasonably intelligent individual. Also, it sounds better than "Sight-sing Any Melody Instantly *(Sort of, but not really)".

To address intervallic sight singing, it is flawed. The people that defend it are generally ones that started with it, and spent enough time with it that they don't want to admit their time was more or less wasted. I started with intervallic sight reading myself, but I realized it made more sense to cut my losses and move forward with a superior approach.

I'm not going to outline every reason why a tonal center approach is better, but I will provide one that I consider compelling enough to switch. Sight singing should not be about mindlessly singing the correct pitches, it should also allow you to understand the music and its patterns. As a side note, sight singing also goes hand in hand with note recognition in which the aforementioned recognition of patterns is even more vital. In any case, degrees inherently provide more information than a collection of intervals. One example is that you are fairly aware of the general frequency of which any particular degree is used. In contrast, intervals do not lend themselves to providing you with such information. By nature, intervals are not grounded within the key. Each note is really only understood by its relation to the last. Unless you are using intervals to map out degrees (which, in essence, is really just a confusing approach to the tonic center method), a note's role in the key can only be determined by following the whole string of intervals back to the beginning, or re-evaluating each note individually (both are far more time consuming than simply using the tonic center method). I'll make it clear that I do not think that intervals are insignificant. However, from degrees, the intervals are very easy to figure in your head without much thought at all; for most musicians it's an automatic process. For example, the supertonic to the dominant is always a fourth. On the other hand, when using intervals, the interval of a fourth can correspond to the relationship of 6 different pairs of degrees (considering only the diatonic notes). To figure out which pair of the six you are concerned with, you have to re-examine the music (and repeat this every other time you want to figure out the actual degrees from the limited, intervallic information you've obtained). Although I didn't originally intend to, I'll also make the point that if you screw up one note when using the intervallic method, you've already messed up the rest of the song, unless you're fortunate enough to make another mistake that effectively cancels out your first.

Ultimately, this book explains a simple concept, but does so well enough to easily justify the price.
2 internautes sur 2 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Not Just For Vocalists 15 février 2012
Par frankp93 - Publié sur Amazon.com
Format:Broché|Achat vérifié
Sight-singing and ear training per se are different though complementary skills. What I really enjoy about this book is the way they're effectively combined.

I studied classical sight-singing years ago in college: Pasquale Bona's Rhythmic Articulation, melodies from sightsinging anthologies. I felt little connection with that music at the time and the only thing that's stayed with me is the warmup drill the class recited: "do-mi-sol-mi, do-fa-la-fa" (Thank you Mrs. Rapp).

Later on I worked through the first level of David Burge's Relative Pitch course but found drilling intervals abstracted from real music to be exhausting and not relevent enough to my musical experience.

In "Sight-Sing Any Melody Instantly" you build a sense of intervals within a musical context using well-known tunes many people probably know from childhood. This is a fundamental difference from Burge's approach: he regards using reference tunes to identify intervals as a crutch to be discarded as soon as possible.

I bought into that for many years but now see the value in drawing from the vast memory of music we all possess. That bank of music contains what excites us about all music and incorporating it into the learning experience is, in my opinion, an effective and satisfying way to go.

By definition a book on sight-singing is notation-based and there are no recorded examples; you have to read music in order to make sense of it.

I found myself with a new appreciation for 'tired' melodies such as "Deck the Halls" and "Swanee River" once I got inside of them intervallically. The material progresses through diatonic major and minor, gradually introducing chromatic intervals.

The pacing is relaxed and you're encouraged to seek out your own examples, which is the real value of the book and where the sight-singing and ear training come together. Once you get the hang of recognizing intervals within melodies, you can use any music that interests you in whatever genre and whatever level of complexity. It's a real blast to rediscover melodic twists and turns in rock and jazz tunes I've listened to and played for decades.

Without hesitation I would say I've improved my ability to both hear music on the written page (I'm an instrumentalist, not a singer), as well as to take imagined phrases out of my head and notate them.

While not as rigorous as a college-level classical sight-singing course, I would recommend 'Sight-Sing Any Melody Instantly' wholeheartedly to musicians of all genres with reading skills who are interested in improving their aural skills.
10 internautes sur 14 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Who Knew Sight-Singing Could Be Fun? 19 janvier 2003
Par Un client - Publié sur Amazon.com
Format:Broché
Mark Phillips uses good-humored commentary to provide a very natural and easy way to sight-sing. Using his approach, the process becomes second-nature, allowing you to sight-sing any melody regardless of whether you have perfect pitch or not. This method is more effective than anything I ever learned in high school or college music classes and is a lot more fun! And the best part about this book is that there isn't a lot of boring stuff to get through before you actually start singing. It's great!
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