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21698360

Pitch Only - Treble Clef (Sight Reading Exercise Book)

Digital Sheet Music

By Nathan Petitpas - Dots and Beams

Piano Solo, Easy Piano, Organ, Harpsichord, Flute, Oboe, Clarinet, English Horn, Alto Sax, Tenor Sax, Baritone Sax, Soprano Sax, Trumpet, Horn in F, Euphonium, Violin, Viola, Cello, Marimba, Vibraphone, Xylophone, Voice, Soprano Voice, Alto Voice, Tenor Voice, Guitar, Ukulele, Banjo, Harp, Handbell, Harmonica, Orff instruments, Recorder, Soprano Recorder, Alto Recorder, Tenor Recorder - Intermediate - Digital Download
Composed by Nathan Petitpas - Dots and Beams. Method, Etudes and Exercises, Classroom, General Instructional, Technique Training. Individual Part. 129 pages. Published by Dots and Beams (S0.734537).

Item Number: S0.734537

Thisbook provides its user with a series of notes on a treble staff withno rhythm values and no meter. Chapters are organized by theplacement of the notes relative to the staff; on the staff, above thestaff, below the staff, on and above the staff, and on and below thestaff. For each pitch range there is one chapter with no accidentalsand one chapter with accidentals. All exercises have a space at thebeginning of each staff to write in a key signature, allowing eachexercise to be read in all keys and used in many ways.

Theaim with this book is to allow the user to focus specifically onexercises centred around pitch without the distraction of rhythmicvalues or time signatures. This can begin with the practice ofsight-reading but can expand to include many other learning goals.

Thediatonic sets contain notes with no accidentals or key signature.These collections can be read as written, using only natural notes,or in any of the 15 key signatures from 7 flats to 7 sharps.

Chromaticcollections include sharp and flat notes as well as natural ones. Thelater exercises in these chapters increase the difficulty byincluding B#, Cb, E#,and Fb.

Ledgerline chaptersstart with the first ledger line and gradually expand away from thestaff. Exercises above the staff reach up to the space above thefifthledger line while exercises below reach down to the space below thethird.

Therandom nature of the notes in these exercises is intentional; itforces the user to pay attention to each note and makes the exercisesvery difficult to memorize, ensuring that they will still present achallenge even after multiple readings.

It’simportant when sight-reading to cycle through the exercises quicklyrather than dwelling on a single exercise for a long time. This willensure that you’re strengthening your ability to read the notesrather than just memorizing the exercises.

Somesuggestions for how to use this book include:

  • Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names.

  • Play each exercise in all 15 key signatures.

  • Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key.

  • Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd.

  • Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments.

  • Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls.

Aswith any of the Dots and Beams books, the uses for this particularcollection are limited only by the imagination of the musician usingit. I highly encourage anybody using this book to find as many usesfor it as possible. My hope is that as you grow as a musician youwill find ever more creative and challenging ways to use thesematerials so that you can return to these books for years and stillfind a valuable way to use them.


About SMP Press

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