: Instructors can choose freely from the set of exercises in the book and supplemental mate
Trade Review
“Comprehensive Aural Skills lives up to its name; together, the book and the companion website contain all the materials needed for an aural-skills curriculum. … Comprehensive Aural Skills effectively combines singing and dictation activities in rhythm, melody, and harmony into a single book, and the high quality of the recordings makes Merritt and Castro’s print-plus-digital package far more attractive than many automated dictation programs with low-quality MIDI. The inclusion of answer keys at the back of the book also makes this a viable resource for supplemental practice or even independent study … nearly everything else needed for a four-semester curriculum is provided.”
— Samantha M. Inman, Music Theory Online, vol. 23, no. 3
Table of Contents
Part 1: Rhythm
Module 1 : Introduction to Simple Meters
Module 2 : Simple Meters, Continued
Module 3 : Rests and Ties
Module 4 : Syncopation in Simple Meters
Module 5 : Introduction to Compound Meters
Module 6 : Compound Meters, Continued
Module 7 : Syncopation in Compound Meters
Module 8 : Triplets, Duplets, and Hemiola
Module 9 : Compound Meters, Advanced Beat Patterns
Module 10 : Asymmetrical and Mixed Meters
Part 2: Melody
Module 1 : Steps within the Major Scale
Module 2 : Steps within the Minor Scale
Module 3 : Leaps within the Tonic Triad (Major and Minor)
Module 4 : Leaps within the Dominant (Seventh) and vii°
Module 5 : Further Diatonic Leaps
Module 6 : Stepwise Chromatic Tones
Module 7 : Motion to The Dominant
Module 8 : Leaps To and from Chromatic Tones
Module 9 : Modulation to Closely Related Keys
Module 10 : Advanced Chromaticism
Module 11 : Modulation to Distantly Related Keys
Module 12 : Pentatonic and Diatonic Modes
Module 13 : Other Modes
Module 14 : Sets and 12-Tone Rows
Part 3: Harmony
Module 1 : I(i) and V (^1 and ^5 in the Bass)
Module 2 : IV(iv), ii6(°6), and ii (^4 and ^2 in the Bass)
Module 3 : I(i)6, vii°6, and V6 (^3, ^2, and ^7 in the Bass)
Module 4 : V7 and the Cadential 6/4 (^5 in the Bass)
Module 5 : Inversions of V7 and The Passing 6/4 (^4, ^2, and ^7 in the Bass)
Module 6 : vii°7 and its Inversions and the Pedal 6/4
Module 7 : IV(iv)6, vi(VI), and iii(III) (^6, and ^3 in the Bass)
Module 8 : Pre-dominant Seventh Chords—ii(ø)7 and IV(iv)7
Module 9 : Applied Dominants 1—V7/V, vii°7/V, and V7/III
Module 10 : Applied Dominants 2—V7/IV(iv) and vii°7/iv
Module 11 : Applied Dominants 3—V7/ii, vii°7/ii, V7/vi(VI), and vii°7/vi
Module 12 : Modulation to Closely Related Keys
Module 13 : Modal Mixture
Module 14 : The Neapolitan (bII)
Module 15 : Augmented 6th Chords
Module 16 : Modulations Using vii°7 and the ct°7
Glossary of Musical Terms; Solmization Systems
Dicatation Keys
Part 1 Rhythm
Part 2 Melody
Part 3 Harmony
