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Sight-Singing for Singers

Fall 2015
Instructor: Dr. Amanda DeMaris
Contact Info: amandademaris@asu.edu
Office Hours: By Appointment
Course Rationale:
This course is designed to supplement training in the area of musicianship for
singers. Topics covered will include sight-reading, aural comprehension, and other
practical skills such as score marking. Such skills are essential for success in the fields
for which singers are trained to participate in.
This course will cover reading in the treble and bass clefs (other clefs may be
covered time permitting), conducting, intervallic patterns, rhythm, dictation, sight reading
melodies, musical preparation of repertoire, score scanning, and score marking.
Additional topics may be addressed as specific student skills and goals are assessed.
Assignments will be sung and drilled with movable do solfeggio and the takadimi rhythm
solmization system.
Upon successful completion of this course, you should:
1) have a better understanding of your strengths and weaknesses as a musically
competent singer,
2) show improved skill levels in sight-reading and musical preparation, and
3) be motivated and skilled to continue to cultivate your musicianship
Required Materials:
Karpinski & Kram, Anthology for Sight Singing (Norton)
Bernstein & Sondheim, West Side Story Vocal Score (Hal Leonard/Boosey & Hawkes)
Repertoire from your voice lessons
Repertoire from your choral ensemble
Manuscript paper and pencil
Suggested Readings:
Alt, D. (2004). Triple threat training programs weakest area reading music:
Reinforcing sight reading in the voice studio for singer/actors. Journal of
Singing, 60(4), 389-393.
Blades-Zeller, E. (2002). A spectrum of voices: Prominent American voice teachers

discuss the teaching of singing. Lanham, MD: Scarecrow Press.

Dornemann, J. (1992). Complete preparation: A guide to auditioning for opera. New
York: Excalibur Publishing.
Ware, C. (2000). High notes: The singer as musician. Opera Journal, 33(2), 22-27.
Westerman Gregg, J. (1998). On requirements for a singing career. Journal of Singing,
54(5), 51-52.
1. Class Participation and Performance (50%): Students are expected to attend and
prepare for class regularly. More than one unexcused absence will result in a lower grade.
Individual class performances (both in class, and midterm and final exams) will be
graded as depicted in the rubric distributed at the first class meeting.
2. Practice Journal (20%): Students are expected to keep a detailed journal of their
practicing including strategies used, challenges and successes. Journals will be checked
twice each month without warning.
3. Midterm Exam (10%)
4. Final Exam (20%)
Course Outline (Tentative):
Weeks 1-7.5:
Discussion of what musicianship for singers entails
Discussion of the importance of musicianship for singers
Assessment of skills and goals of students
Introduction of Takadimi
Reading in the treble and bass clefs (other clefs may be covered time permitting)
Intervallic patterns
Sight-reading melodies
Musical preparation of repertoire
Score scanning
Score marking
Week 7.5:
Students will meet privately with instructor to sing a midterm exam.
Weeks 7.5-15:
Additional work with the skills covered in weeks 1-7.5
More skills as determined by student progress and goals
Final Exam Period:
Students will meet privately with instructor to sing a final exam.