Large Choral MPA Sightreading Information

North Carolina Music Educators Association
High School Choral Section

Music for Sight Singing
2015

Music and Text
by

Gwen McLeod Hall

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Sight-reading will be optional. A separate adjudicator will be employed for sight-reading when necessary. Sight-reading will be graded separately from performance and will not be included as part of the cumulative grade. There will be no observers for sight-reading, other than assigned student teachers. If one group arrives before another has finished its performance, the arriving group shall be detained at a point far enough away that its members cannot hear the music distinctly. The procedure will take place in a room close to the performance area.

Procedures:

  • Each chorus should be met at the door by an attendant and told to file in and take seats quietly and quickly, in an arrangement customary to that chorus. Attendants can assist in arranging seats.
  • After the chorus members take their seated positions, the attendant will pass out the sight-reading scores which must remain unopened until instructions have been given.
  • The adjudicator shall go to the conductor’s stand and deliver such instruction as he feels will assist the group to sight-read successfully.
  • Each group shall perform one (1) rhythmic exercise of the adjudicator’s
    • The group will have one (1) minute to examine the exercise. Neither the director nor the students may actualize any rhythm during the one-minute examination. At the end of one minute, the students will execute the rhythm in a manner of the director’s choosing; e.g., clapping or any rhythmic syllables.
  • Each group shall also perform one (1) singing exercise in the voicing and difficulty level of the director’s
    • The adjudicator will establish the tonality, giving students the opportunity to sing the scale and/or tonic triad.
    • The group will have four (4) minutes to study and discuss the score. The director and students may ask questions and discuss, but may only audiate during this four-minute examination period. No actualization of any pitch or rhythm may occur.
    • At the conclusion of four minutes, students may once again sing the scale and/or tonic triad to re-establish the tonality.
    • The starting pitches for each voice part are given at the piano.
    • Students may him or sing their starting pitches.
    • With piano accompaniment, students will sing the sight-reading exercise one time through using solfege syllables, scale degree numbers, neutral syllables or text, at the discretion of the director.
    • After that, the group will have one (1) minute to discuss the piece.
    • Pitches are given ad the exercise is sung a cappella.
    • The director may only conduct. He or she may make no audible contribution to the performance.
    • The sight-reading demonstration should be treated as a performance, not as a rehearsal. While it is not against the rules to call out numbers to the singers while they are performing or to stop and begin again, the director is admitting a sight-reading weakness which must be taken into consideration by the adjudicator.
    • At the conclusion of the audition, students should remain seated until all music has been returned and counted. The director should be given a few seconds for any instruction, and singers should be asked to leave quietly and quickly to make room for the next group.

 

THE NORTH CAROLINA HIGH SCHOOL CHORAL SECTION

MUSIC PERFORMANCE ADJUDICATION

SIGHT-READING MATERIALS CRITERIA

2015

 

Teachers will have opportunity to choose from four levels of difficulty: Beginning, Intermediate, Proficient and Advanced. Each level will present 2 rhythmic exercises and melodic/harmonic exercises, which include rhythmic elements, composed in multiple voicing. Students will perform one rhythmic exercise and one melodic/harmonic exercise in the sight-reading adjudication.

 

BEGINNING LEVEL

RHYTHMIC EXERCISES:

Meter: 2/4 and 4/4
Pattern:

eighth, quarter, half and whole notes; corresponding rests
used in moderation; no dotted patterns; no syncopation

Texture: unison
Length: 8-16 measures

MELODIC/HARMONIC EXERCISES:

Meter: 2/4 and 4/4
Rhythm: patterns as described under Beginning rhythmic exercises
Tonality: C, F or G Major; no modulations
Texture: monophonic and homophonic
Melody: Unison example: stepwise motion, except tonic chord movement at cadence (sol-do)
Harmony: Homophonic examples: predominantly stepwise; limited skips in the tonic chord to accommodate sol-do movement at a cadence.
Cadences: Authentic cadences only
Length: 8-16 measures
Voicing: Unison, SA, TB, Treble/Bass, SAB, SATB I, SATB II

INTERMEDIATE LEVEL

RHYTHMIC EXERCISES:

Meter: 2/4, 3/4, 4/4
Pattern:

eighth, quarter, half, dotted half notes, and whole notes;
corresponding rests used in moderation; no syncopation;
no dotted quarters

Texture: unison
Length: 8-16 measures

 

MELODIC/HARMONIC EXERCISES:

Meter: 2/4, 3/4, 4/4
Rhythm: patterns as described under Intermediate rhythmic exercises
Tonality: C, D, F, G and Bb Major; no modulations
Texture: monophonic and homophonic
Melody: stepwise motion with moderate use of skips in the I and V chords
Harmony: all voices stepwise, with moderate skips in the I and V chords
Cadences: Authentic and half cadences only
Length: 8-16 measures
Voicing: Unison, SA, TB, Treble/Bass, SSA, TBB, SAB, SATB I and II

PROFICIENT LEVEL

RHYTHMIC EXERCISES:

Meter:  2/4, 3/4, 4/4 and 6/8
Pattern:                

eighth, quarter, dotted quarter, half, dotted half, and whole notes; corresponding rests used in moderation; Syncopation created by a tie across the bar line;
sixteenth patterns in simple time only; no sixteenth rests

Texture: unison
Length: 16-32 measures

MELODIC/HARMONIC EXERCISES:

Meter: 2/4, 3/4, 4/4
Rhythm:

eighth, quarter, dotted quarter, half, dotted half, and whole notes;
corresponding rests used in moderation; Syncopation created as a
tie across the bar line; no sixteenth patterns

Tonality: C, D, E, F, G, Bb Major; no modulations
Texture: monophonic, homophonic, with simple polyphonic entrances
Melody: stepwise motion and skips in the I, IV and V or V7 chords
Harmony: all voices stepwise with skips in the I, IV, V and V7 chords
Cadences: Authentic, half or plagal cadences
Length: 16-32 measures
Voicing: Unison, Treble/Bass, SSA, TBB, SAB I and II, SATB I and II

ADVANCED LEVEL:

RHYTHMIC EXERCISES:

Meter:  2/4, 3/4, 4/4, 6/8
Pattern:                       

all sixteenth note patterns and triplet eighths in simple time only;
eighth, quarter, dotted quarter, half, dotted half, and whole notes; corresponding rests used in moderation; Syncopation as a tie across the bar line or as eighth-quarter-eighth

Texture: unison
Length: 16-32 measures

MELODIC/HARMONIC EXERCISES:

Meter: 2/4, 3/4, 4/4, 6/8
Rhythm:                          

sixteenth notes or triplet eighths on repeated or stepwise pitches in simple time: no corresponding rests;
eighth, quarter, dotted quarter, half, dotted half, whole notes and corresponding rests used in moderation; Syncopation as a tie across the bar line

Tonality: C, D, E, F, G, Bb, Eb and Ab Major; no modulations
Texture: monophonic, homophonic, polyphonic
Melody: melodic skips in the I, IV, V, V7 and vi chords
Harmony: all voices skips in the I, IV, V, V7 and vi chords
Cadences: authentic, half, plagal and deceptive
Length: 16-32 measures
Voicing: Unison, Treble/Bass, SSA, TBB, SAB I and II, SATB I and II