Single-Part Sight-Singing Basics Tutorial

Author: Tan Huiling
Publisher:
Publish Date: 2004-08-01
Features: To better serve teaching, a brief introduction to the tutorial is provided here. This tutorial partly focuses on rhythm training; the second part focuses on sight-singing.
Part 1 – Rhythm Training:
1. Main Features:
1. Emphasizes rhythm training, with rhythm as the priority;
2. Uses a training method based on rhythm patterns;
3. First practices individual rhythm patterns, then flexibly connects multiple patterns;
4. Uses simple rhythm pattern names for easy memorization and application of various training methods;
5. Uses shorthand symbols to maximize recording speed.
2. Teaching Methods:
1. Use a metronome, and the instructor must also maintain a steady beat to ensure speed balance and establish concepts of different speeds;
2. Write multiple rhythm patterns on the board, and the instructor uses a pointer to randomly issue commands for improvisational connections and rhythm pattern changes;
3. Combine reading, clapping, memorization, and recall in training. Rhythm phrase dictation should have both quality and quantity.
3. Teaching Requirements:
1. Each rhythm pattern must have a distinct character—accurate note values and correct strong/weak relationships;
2. When improvisationally connecting rhythm patterns, the converted pattern must be correct and the original speed must not be altered;
3. Clap and read rhythms with elasticity, vitality, flow, and a sense of rhythm;
4. Practice with multiple speeds;
5. Strongly emphasize quick response and accuracy. When dictating rhythm patterns and rhythm phrases, although shorthand symbols are used for recording, the final writing must be complete and standardized.
Part 2 – Sight-Singing:
1. Sight-singing content is within three flats and sharps;
2. Chapters 1 and 2 focus on major scales and commonly used natural scales, while Chapter 3 focuses on minor scales;
3. A few examples are used to train uncommon time signatures and meter changes, interspersed among the keys without separate syllables;
4. Although major and minor scales are separated into different chapters when organizing the content, they can be flexibly used as needed;
5. Simple basic exercises are provided before each major and minor scale example to quickly grasp the characteristics of each key and find the tonal sense. When singing basic exercises, accidentals must be pronounced, such as singing "sharp sol" for G and "flat mi" for E, etc.