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Ella Fitzgerald once said that ‘the only better thing than singing is more singing’. A major problem for so many potential singers though has always been how to sight-read. Sight-singing is different from sight-reading on other instruments because it involves pitching notes oneself, rather than ‘simply’ playing the correct note.
As a choral director, I have often found that the most useful singers in a choir are not necessarily those with the best voices but those who can sight-sing accurately.
This work – and it’s much more than just a book – is a fantastic publication. It can be used by students, teachers and choir directors alike. There is so much in it that it is, dare I say it, the ultimate resource.
Sight-reading has always been the scourge of music exam candidates. The Novello Guide to Sight-Singing should be in everyone’s music case. The authors have used their huge experience to produce the first truly interactive resource to teach the art of sight-singing.
As a text book, this will be of immense use to singing teachers in lessons with their students but can also be used by students on their own, outside lessons. Although necessarily extremely detailed, the book guides the student through the theory and skills required to sight-sing effectively, notably rhythm, intervals, melodic shape etc. I particularly like the way the authors advise students how to pitch intervals – a common difficulty among singers.
The exercises are cleverly chosen from ‘real’ pieces of music and each one focusses on a particular aspect of sight-singing. The annotated musical examples in the book, while initially appearing quite daunting and reminiscent of university students’ analysis assignments, on closer inspection give a vast array of tips and techniques to improve one’s skills.
The book provides explanations, exercises and tips and tricks covering:
I don’t know of another book which brings such a thorough approach to the art of sight-singing. Singers are taught to notice things in a score as they sight-sing (arpeggios, scale passages, repeating patterns etc), aspects of sight-singing which are crucial.
The book is extremely thorough; indeed, perhaps a little too thorough for use by a student on his or her own. Nevertheless, for use with a teacher or by a choral director, it is a box of delights.
The unique aspect of The Novello Guide to Sight-Singing is its online Soundcheck resource. By logging into SoundWise, not only is the whole book available as an E-book on screen but also all the exercises are available for practice, each pitched for both high and low voice.
Once the chosen Soundcheck exercise is on screen, the student can try to sing it (through the microphone of his or her computer) and the performance is then ‘marked’. The student can try each exercise as many times as he or she likes, hopefully improving his accuracy. ‘Stars’ are awarded to celebrate achievement.
Following a successful ‘performance’, the student is encouraged to do a ‘lap of honour’ by singing the exercise again. This helps confirm the skills used (and also checks that the previous performance wasn’t a fluke!).
This online resource is of huge value and is the main thing which, for me, puts The Novello Guide to Sight-Singing in a different league from the old and crusty sight-singing books I have on my music shelves. Here, for the first time, the student can practise the art of sight-singing on his or her own with an online ‘teacher’ who marks every exercise instantly and will do so 24 hours a day – fantastic!
The SoundWise online aspect of The Novello Guide to Sight-Singing can be accessed on all media devices, including phone, tablet and personal computer, so is available for use anywhere – in a lesson, at home, in school etc – I even tried it in the bath!
In conclusion, I highly recommend The Novello Guide to Sight-Singing. It will no doubt establish itself as an extremely useful resource in the choral world. If I have one reservation, it would be that the book can appear too detailed for the student working alone, especially if he or she is young, but for use by adults, teachers and choral directors, it will doubtless prove invaluable. Ella Fitzgerald would have approved.
Organist, pianist, choral director, composer and teacher, Brian Cotterill spent over seven years as Director of Music at Lanesborough School (the choir school of Guildford Cathedral) before becoming Director of Music at St Edmund’s School in Hindhead, Surrey, where he oversaw the running of seven choirs every week.
He has undertaken choir tours to Salzburg, Rome, Venice and Tuscany, which have included performances for Pope Benedict XVI. Brian is the official accompanist of Song Circle, a chamber choir formed from members of the BBC Symphony Chorus.