[Menvi-discuss] sightsinging Class

[Chris Smart]

those sight singing exercises will help you think more in terms of 
intervals, the relative distances from note to note in a melodic line.


At 01:43 PM 10/25/2012, you wrote:
>Hello,
>I'm asking about a mind set, not anything about the code.
>Currently I think note by note. If I see a C, E, I think C to E, 
>or do, mi. I don't think major 3rd. I hit a C then hit an E.
>If I thought in intervals I would see C, E, and think major 3rd.
>Thanks,
>
>Brandon Keith Biggs
>-----Original Message----- From: Chris Smart
>Sent: Thursday, October 25, 2012 10:36 AM
>To: This is for discussing music and braille literacy
>Subject: Re: [Menvi-discuss] sightsinging Class
>
>i'm not sure what you are asking.
>do you know your interval signs, and your sharp and flat signs?
>that plus the key signature dictate what note the interval lands on.
>
>
>
>At 01:25 PM 10/25/2012, you wrote:
>>Hello,
>>I'm wondering how one would memorize intervals in Braille?
>>If I'm in C major and see C, E, I would think of a major third. 
>>But if I was in E major, a C, E, would be a minor 3rd with the 
>>notes looking exactly the same. I'm very new to reading Braille 
>>music, but I've found that it is much easier to think of singing 
>>a C#, E, then seeing a C, E, and thinking if it is a major or 
>>minor 3rd. Should I try for thinking in intervals rather than in 
>>notes? Will thinking in intervals help my intonation more than 
>>thinking a Bb then singing it?
>>I know print music is formatted so one can do either, but Braille 
>>is the exact notes and nothing else. It would be like having 
>>interval numbers between each new note...
>>As it is, I can do both, but the interval reading takes a second 
>>of thought that would not do me any good in a sight singing situation.
>>Thanks,
>>
>>Brandon Keith Biggs
>>-----Original Message----- From: David Goldstein - Resource Center
>>Sent: Thursday, October 25, 2012 7:54 AM
>>To: This is for discussing music and braille literacy
>>Subject: Re: [Menvi-discuss] sightsinging Class
>>
>>A lot of people tell me they started out thinking there was no 
>>reason for
>>Solfege and didn't think they needed to think in those 
>>terms--until they
>>started sight-singing or analyzing more complicated pieces.  It's 
>>helpful to
>>think of the melody and how its notes relate to each other 
>>separately from
>>what key it's in.  I know it's hard for those of us with close to 
>>perfect
>>pitch to see an F and sing A, but I think it can be done, just as 
>>one learns
>>to get used to the idea that when you put a kapo on the guitar's 
>>second
>>fret, a C chord is now a D chord.  You could try to think of the 
>>exercises
>>in Solfege, with whatever the dominant key's happening to be 
>>starting with
>>as Do.  If that doesn't work, what I think I would do would be to 
>>read the
>>beginning of the exercise before singing, and imagine hearing it 
>>in my head
>>in the key the book says.  Then, once I knew where it was going, 
>>I could
>>say, that's too high, and sing it in my range.  I think it would 
>>be better
>>to develop that kind of skill mentally, rather than take the time to
>>transpose the piece on paper into notes you can sing.  If the 
>>teacher refers
>>to a particular note in a particular measure, you want to be able 
>>to read it
>>as he sees it, and not have to constantly be transposing back in 
>>your head
>>to know what he's talking about.  You would be more likely to 
>>find you had
>>made a mistake that way, and the teacher would grade it it as an 
>>error.
>>
>>I once read about singers in the Smoky Mountains who knew about 
>>modes but
>>nothing about keys.  If something was too high for them, they had 
>>very
>>little idea why.
>>
>>David
>>
>>----- Original Message ----- From: "Brandon Keith Biggs" 
>><brandonkeithbiggs at gmail.com>
>>To: "This is for discussing music and braille literacy"
>><menvi-discuss at menvi.org>
>>Sent: Tuesday, October 23, 2012 6:52 PM
>>Subject: [Menvi-discuss] sightsinging Class
>>
>>
>>Hello,
>>I just had a huge discussion/argument with my sightsinging 
>>teacher about the
>>goals of a sightsinging class and what should be the objectives 
>>reached by
>>the students.
>>I felt that singing a high F down an octave when I see it in the 
>>middle of a
>>melody is more acceptable than playing an A when the piece is in 
>>C. My
>>teacher insisted that the melody had to be unaltered when 
>>performed in
>>class. I explained to him that there will be very few times when 
>>I would be
>>encountering an aria that I need to sight sing that is out of my 
>>range in
>>the real world and as an Opera singer, shattering my developing 
>>perfect
>>pitch is more detrimental than the point of the class. Especially
>>considering I do much more sightsinging out of class than I ever 
>>do in
>>class. He told me that I had to sing the melody and that was 
>>that, he didn't
>>care what key.
>>
>>My question is, what do people recommend? He gives us the 
>>exercises we are
>>to perform the week before and then we practice them and bring 
>>them in. I
>>thought of putting them in lime and transposing them to something 
>>I can sing
>>easy. They are only like 8-10 measures, so although this will 
>>take more
>>time, I think it will be better for me.
>>Does anyone have any other techniques in dealing with a class 
>>like this?
>>Thank you,
>>
>>Brandon Keith Biggs
>>
>>
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