Melodies that incorporate leaps with specific wide intervals.
David Newman, The Well-Trained Ear
See the link for audio and sing-along lyrics!
1) Ignatius Sancho, "Dutchess of Devonshires Reel," mm. 1– 4 from Twelve Country Dances for the Year 1779 [Image File] [MuseScore]
Directions: Sing the top line while playing the bottom on the piano or singing with a partner.
2) Francis Johnson, No. 7, "Ford," mm. 9– 16, from A Collection of New Cotillons (1818) [Image File] [MuseScore]
Directions: Sing the top line while playing the bottom on the piano or singing with a partner.
4) Chiquinha Gonzaga, “Yo Te Adoro,” Op. 18, mm. 10–17 (1881), transposed [Image File] [MuseScore] [PDF]
6) Maria Theresia von Paradis, 12 Lieder, 1786, No. 4, “Das Gärtnerliedchen aus dem Siegwart,” mm. 13–23 (1786), outer voices only. [Image Link] [MuseScore]
Directions: Sing the top line while playing the bass arpeggiations on the piano or have a partner sing just the bass notes as a duet.
8) Anna Amalia of Prussia, Sonata for Flute in F, movt. 3, Allegro Ma non troppo, mm. 3– 10 (1771) [Image File | PDF | MuseScore]
1) Johanna Kinkel, No. 3, "Gondellied," mm. 17–24, from 6 Gedichte, Op. 8 (1838) [Image Link] [MuseScore] [PDF] [Melody in context]
2) Fanny (Mendelssohn) Hensel, 6 Lieder, Op. 1, No. 6, "Gondellied," mm. 3–10 (1846) [Image Link] [MuseScore] [PDF] [Melody in context]
1) Miranda Wilson, “Neapolitan Singing Chord Procedure” (From Integrated Musicianship: Aural Skills, “Harmonic Dictation Exam Review”)
Note: The example below was typeset from the original. Image | PDF | MuseScore
1) Louise Reichardt, Zwölf Gesänge, Op. 3, No. 4, "Vaters Klage," outer voices only. [Image File] [MuseScore]
Directions: Sing the top part while playing the bottom part at the piano or along with a partner.
1) Miranda Wilson, “Augmented Sixth Chord Singing” (From Integrated Musicianship: Aural Skills, “Harmonic Dictation Exam Review”)
Note: The example below was slightly modified and typeset from the original. Image | PDF | MuseScore
2) David Newman, The Well-Trained Ear
See the link for audio and sing-along lyrics!
Benjamin Crowell, Eyes and Ears: An Anthology of Melodies for Sight Singing: "Secondary Dominants and Chromatic Passing Tones," pp. 99–109
Kent D. Cleland & Mary Dobrea-Grindahl, Developing Musicianship through Aural Skills - Available online through the NYU library
Mode Mixture: Explanation and solfege, prep exercises, 1 and 2-part rhythms for sight-reading, and sing-and-play melodies, pp. 310–318 (direct link to section)
Examples from the Literature, pp. 318–321 (direct link to section)
Secondary Dominants: Explanation, prep exercises, 1 and 2-part rhythms for sight-reading, and sing-and-play melodies, pp. 335–346 (direct link to section)
Neapolitan Chords: Explanation, prep exercises, 1 and 2-part rhythms for sight-reading, and sing-and-play melodies, pp. 347–354 (direct link to section)
Neapolitan Chords: Explanation, prep exercises, 1 and 2-part rhythms for sight-reading, and sing-and-play melodies, pp. 355–362 (direct link to section)
Extended & Altered Dominants: Explanation, prep exercises, 1 and 2-part rhythms for sight-reading, and sing-and-play melodies, pp. 363–371 (direct link to section)
Examples from the Literature (with all chords above), pp. 371–375 (direct link to section)
Sight Singing Textbook (San Fransisco Conservatory)