Bruce Phelps Sight Reading Manual. Volume I. Written, Compiled and Edited by Bruce Phelps

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3 A NOTE FROM THE AUTHOR BRUCE PHELPS Welcome to the Bruce Phelps Sight Reading Manual I would like to remind you from the eginning that YOU are the teacher and YOU decide how to teach sight reading to your students The purpose of this manual is to provide you with a tool to assist you in teaching sight reading Your students will enoy the exercises and at the same time develop their sight reading skills Use this every day! Five minutes is all it takes I guarantee that your singers will grow in their sight reading aility SIGHT READ EVERY DAY! That is the secret The proficiency exams written for each level are a means for you to determine whether a student is ready to move on to the next level The test melodies are generally easier than most of the exercises in the level I purposely did this to encourage students in their progress There are three at each level I expect my students to sing through all three of them in order to pass You, as evaluator, will determine if your students pass This varies from student to student, as many factors are involved For me, the ottom line is progress How do you give the exams In my time at Anoka high school, we did it one on one I also had the students tape their tests and evaluated the tapes at a later time I prefer the one on one approach How do I deal with varying levels in a particular class I really do not I push everyody as hard as I can and each class moves at its own pace We do provide help sessions efore and after school once or twice a week for those who are having difficulties Believe me, those fifteen to twenty minutes with small groups pay high dividends

4 A NOTE FROM THE AUTHOR We teach sol-feg at Anoka ecuase it works for us We use the moveale do ecause we like the feeling of the home tone eing do There may e a time after the fifth or sixth level when syllales are no longer necessary ecause students can sing the melodies or parts independently If we have difficulty with certain intervals, we can revert to syllale singing to refresh their memories To start teaching syllales, we do two things We use a set of warm-up exercises that incorporate different syllaic patterns and use them everyday as part of our vocal warm-ups Secondly, we do a lot of whiteoard work asking students to sing indicated pitches This teaches them the relationship of syllales to various pitches within the scale pattern Prior to level four, accidentals are introduced in the solfeg system y having the students sing chromatic scales every day This is also a tremendous ear-training technique Prior to level five, class time is used to teach the concept of finding do in various keys Gradually as we sing through level five, we teach key signatures to the students Levels eight, nine, and ten introduce two, three, and four part singing These exercises are not only fun to sing, ut now approach the actual part singing the students experience in their choirs Again, I re-emphasize that this manual is a tool to assist you in making your students etter sight readers and thus more comprehensive musicians One more note efore you egin I have spent many hours on this proect and consequently decided to pulish it myself You have my permission to copy the student exercises for your own school s use Copy the levels as you need them This should e a great savings for your school Please do not allow someone from another school to copy this for their use Please share this concept with your colleagues and friends and inform them where they, too, may purchase the BRUCE PHELPS SIGHT READING MANUAL

5 The following is a rief description of each aspect of the manual Read through them initially, and then re-read each level description efore you egin teaching that level WARM UP EXERCISES There are three pates of exercises with syllales included Use them as vocal warm-ups and they will serve two purposes First, singing the exercises helps the students grow accustomed to using the sol-feg syllales Secondly, y singing them in various keys, you will promote vocal range development Make up your own accompaniment or have the examples sung a cappella Add rhythmic clapping and physical movement to the exercises Have fun with them When you get tired of these, write new ones The more your students use the syllales, the sooner they will ecome familiar with them and thus transfer the process to choral singing LEVEL ONE The intent of level one is to help the students sing a rising and falling melodic line Give them do Set the tempo Give them a pulse and start them singing Do not fix wrong notes Keep going You may wish to repeat exercises, ut the idea is to get your students used to singing correctly straight through without stopping You can easily sing a full page in less than five minutes Singing the exercises ackwards will doule their practice The more practice the students have, the more confidence they will gain LEVEL TWO This level deals specifically with rhythms Preliminary work is needed to introduce notation values Do oard work to teach the concept of quarter notes, half notes, eighth notes, etc Use a variety of techniques to help students understand note values Then egin singing these exercises Deal with eighth and sixteenth note concepts prior to the exercise in which they are used Rhythmic reading is very important so take your time Your class can easily sing through one page in less than five minutes, especially after you have taught the asics To extend the exercises, sing them forwards and ackwards Look at each page efore you egin There are new concepts to e introduced as you move along such as the tie and the dotted rhythm Introduce them prior to the exercise in which they first appear Students retain information etter its at a time and the repeated usage of the concept helps reinforce learning and retention

6 LEVEL THREE Level three comines rhythms and melodies for the first time You set tempos and estalish do ased on the ranges of the voices singing the exercises You may find this is the most difficult transition for some of your students, so go slowly and e thorough in your teaching If you have individuals who are struggling, take the time NOW to give them extra help Sessions efore and after school once or twice a week will greatly enefit those who need the additional assistance LEVEL FOUR Level four introduces accidentals Teach the chromatic scale with the following syllales: Ascending Scale: (DO DI RE RI MI FA FI SOL SI LA LI TI DO) Descending Scale: (DO TI TE LA LE SOL SE FA MI ME RE RA DO) Singing the chromatic scale not only familiarizes students with the accidentals in the Sol-feg system, ut is also a tremendous ear training device to teach half steps Prior to singing each exercise in level four, ask your students to identify the accidentals in each melodic line This provides them with the syllale name and alerts them to an altered pitch All melodies are in the key of C, so the only new concept is accidentals As the exercises ecome more complex, you may find that you can only get through half a page per day That is ust fine, ut e persistent and do it at least five minutes every day LEVEL FIVE Level five introduces the movale do as we sing in various key signatures Take time to teach students how to find do within the framework of flats and sharps If they do not know note names, take time to teach them With each exercise, ask two questions What pitch is do And, What syllale do you sing first Give the students do, set the tempo and sing through the melody Level five is a difficult transition as students have previously connected syllales with certain lines and spaces in the staff TAKE YOUR TIME GIVE EXTRA HELP Praise, encourage, and always compliment your singers While you are sight reading in level five, teach key signatures to the students as well When you complete level five, the students should e ale to identify key signatures as well as find do There are some minor modes included which offer you an excellent opportunity to discuss the difference etween maor and minor More ear training at your discretion would help solidify this concept

7 LEVEL SIX Level six adds accidentals to melodies in various keys Assist your students y asking them to name the accidentals prior to singing the exercise Then ask where do is and have them identify the key in which they are singing By guiding them through, you will structure their thinking process in a way that est prepares them to sing in all keys As a sideline, you are also teaching some valuale music theory LEVEL SEVEN Most of us have male voices in our choirs that need to learn to sing in ass clef Thus, level seven is specifically designed for the asses The entire choir, however, should sing them as well After all, the asses have een singing in trele clef, why not have the rest of the choir learn to sing in ass clef The first forty exercises are in the key of C with scattered accidentals to acquaint students with line and space notation of the ass clef The rest of the level moves to other keys so follow the same procedure as used in levels four and six Ask students to identify the key signature, find do, and identify their starting pitch The extra practice signing solo melodic lines helps prepare them for upcoming part singing LEVEL EIGHT Two part singing Fun! SA and SB settings Have your students sing oth top and ottom parts Divide up the class any way you wish Encourage small groups to demonstrate As for volunteers Use your imagination to provide students a variety of options to enoy these eight measure melodies LEVEL NINE Three part singing! More Fun! SSA and SAB settings Encourage your students to sing different lines for each exercise so they ecome aware of the role of the top, middle, and ottom parts If they have prolems initially, sing one line at a time Then divide the class up into three parts and sing through the exercise It may take some time for the singers to hear how their line fits into the whole, ut once they do, they will experience a great sense of accomplishment

8 LEVEL TEN Four part singing! Much effort went into incorporating some variety in these exercises while keeping them original and singale If the students have prolems, sing one line at a time and then put them together These are asically straight forward four part exercises Harmonies and rhythms are very traditional When your students sing through this level, they will have developed excellent skills which will carry over into all of their musical endeavors PROFICIENCY EXAMS How to use them As you will notice, there are three test exercises for each level of sight reading Have your students sing through all three for you Then determine whether they pass, or need more work If they are having difficulties, use this testing time for an extra help session Testing does take time, ut it is necessary If your schedule does not allow one to one contact with all your students, here are some alternatives: 1 Tape the tests Have each student walk into a practice room, play do, and sing through the exercise to the est of their aility Listen to the tape and make the determination as to whether they are ready to move to the next level 2 Test in small groups Have 2, 3, or 4 students test together This may not e the est, ut all students will e re-enforced y each other and it does save you time 3 Test sections of your choir at a time Bring all the sopranos together and give them the test Do the same with other sections of your choir 4 Test your entire choir The leaders will carry the others, so use some creative testing methods to give all the opportunity to demonstrate their progress The tests are important ecause the students needs to e hald accountale for their work and feel a sense of accomplishment Again, I reiterate, continue to praise and encourage the students ecause your acknowledgment of their progress only assures them that they are doing well YOU are their main source of inspiration Only YOU can challenge them to surpass their potential Have fun with this method and rememer: SIGHT READ EVERY DAY!

9 Vocal Warm Up Exercises Using Sol-Feg EXERCISE NUMBER DO RE MI RE MI FA MI FA SOL FA SOL LA SOL LA TI LA TI DO TI DO RE DO DO TI LA TI LA SOL LA SOL FA SOL FA MI FA MI RE MI RE DO RE DO TI DO EXERCISE NUMBER DO MI RE FA MI SOL FA LA SOL TI LA DO TI RE DO DO LA TI SOL LA FA SOL ME FA RE MI DO RE TI DO

10 2 Vocal Warm Up Exercises Using Sol-Feg EXERCISE NUMBER 3 c DO MI SOL MI DO DO FA LA FA DO DO MI SOL MI DO DO FA LA FA DO DO DO DO DO MI SOL DO DO SOL MI DO DO FA LA DO DO LA FA DO DO MI SOL DO DO SOL MI DO DO FA LA DO DO LA FA DO DO DO DO EXERCISE NUMBER DO DO RE DO DO MI DO DO FA DO DO SOL DO DO LA DO DO TI DO DO DO DO DO TI LA SOL FA MI RE DO DO DO

11 Vocal Warm Up Exercises Using Sol-Feg 3 EXERCISE NUMBER 5 DO DO TI DO DO LA DO DO SOL DO DO FA DO DO MI DO DO RE DO DO DO DO DO RE MI FA SOL LA TI DO DO DO EXERCISE NUMBER 6 c

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13 Proficiency Test Level 1 NUMBER 1 c NUMBER 2 c NUMBER 3 c

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15 Proficiency Test Level 3 NUMBER 1 c NUMBER Œ Œ Œ Œ Œ NUMBER 3 8 6

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17 Proficiency Test Level 5 NUMBER 1 c NUMBER Œ Œ Œ Œ NUMBER 3 8 6

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20 Proficiency Test Level 8 NUMBER 1 c NUMBER NUMBER 3 6 8

21 NUMBER 1 c c Proficiency Test Level 9 w ww w w NUMBER NUMBER

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25 Bruce Phelps Sight Reading Manual Volume I: Level One Bruce Phelps 1 c Phelps Music Company

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37 Bruce Phelps Sight Reading Manual Volume I: Level Two Bruce Phelps Œ Œ Œ 3 Œ Œ 4 Œ Œ 5 Œ Œ Œ 6 7 Œ 8 Œ Œ 2010 Phelps Music Company

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