Sight-Singing Pedagogy with Common Sense Strategies
Alan C. McClung, Ph.D.
940-369-7936
Alan.mcclung@unt.edu
University of North Texas
College of Music
1155 Union Circle #311367
Denton, TX 76203-5017
To eliminate rote teaching and sight-guessing, a systematic and sequential approach to sight-singing is required. Consider how
we learn a skill. We start at the beginning, practice each step, and move to the next sequential level. When appropriately
sequenced instructional strategies are applied, sight-singing is a skill accessible to all choristers.
Presentation Overview
I. Dominate Pitch Systems
Movable Tonic Systems:

Movable [Do]

Movable Pitch Numbers
Non-Movable Tonic Systems

Fixed Do

Letter Names
II. Pitch Development
Establish pitch relationships.

Echo-singing
Visual prompts

Pitch syllables in a written format

Curwen hand signs

Pitch ladder
Audiation

Hearing then identifying pitch before singing/sounding it.

Using Curwen hand signs to elicit a response

Identifying pitch through a variety of response format, including dictation and composition
Pitches Approached by Leap

Sing through

Resolution

Memorized sequences
Notated Pitch

The modified music staff, a visual prompt

The reading skills used by an instrumentalist differ from the reading skills used by a vocalist.
III. Dominate Rhythm Systems
Syllable Systems: Orff-Schulwerk; Chevé (Kodály); Froseth/Gordon
Number Systems: Eastman: Classification A, B, C; Traditional Beat-Based: Classification A, B, C
Establishing a systematic approach to duration/rhythm

An internalized pulse established through the externalized silent tap, a kinesthetic tool

Rhythm number chanting, an oral/aural tool

Written rhythm numbers, a visual tool

Clapping rhythms, a kinesthetic tool for the student and an visual/aural
tool for the teacher
The Rhythm Chart
“Sound when the rhythm numbers tell you to sound.”
“Speed always increases difficulty.”

arranged order

random order

section rounds

neighbor rounds
IV. Combining Duration and Pitch
Finding [Do]. Less is more!

The flat farthest to the right is always [Fa]

The sharp farthest to the right is always [Ti].
Isolate pitch, isolate rhythm, then combine
Minor Scale

[La]-based minor, the prevalent approach

[Do]-based minor
Chromatic Scales
Selected References
Bloom, B. S., Englehart, M. C., Furst, E. J., Walker, H. H., & Krathwohl, D. R. (1956). Taxomony of educational objectives:
The classification of educational goals - handbook I : Cognitive domain. New York: David McKay Company, Inc.
Choksy, L. (1988). The Kodály method: Comprehensive music education from infant to adult (2nd ed.). Englewood Cliffs, NJ:
Prentice Hall.
Demorest, S. M. (2001). Building choral excellence: Teaching sight-singing in the choral rehearsal. New York: Oxford
University Press.
Gordon, E. E. (1997). Learning sequences in music: A music learning theory. Chicago: GIA Publications, Inc.
McClung, A. C. (2001). Sight-singing systems, current practice, and a survey of all-state choristers. Update, 20, 3-8.
McClung, A.C. (2008). Movable Tonic: A Sequenced Sight-Singing Method. Chicago: GIA Publications, Inc.
McClung, A.C. (2008). Sight-singing scores of high school choristers with extensive training in movable solfège syllables and
Curwen hand signs. Journal of Research in Music Education, 56 (3), 255-266.
Norris, C. E. (2004). A nationwide overview of sight-singing requirements of large-group choral festivals. Journal of Research
in Music Education, 52 (1), 16-28.
Varley, P. C. Jr. (2005). An analysis of rhythm systems in the United States: Their development and frequency of use by
teachers, students, and authors; A relation to perceive learning preferences. Dissertation Abstracts University of
Missouri-St. Louis.
Alan C. McClung joined the University of North Texas College of Music faculty in 2002. He directs UNT’s Up Front (a 75
voice laboratory choir for choral music education), teaches undergraduate choral conducting, courses in secondary choral
methods, and supervises student teachers. He holds a BMED from West Virginia University, a MM in Choral Conducting from
the University of Illinois, Urbana/Champaign; and a PHD in Music Education from Florida State University. Dr. McClung's
professional experience includes teaching and conducting at all levels. In addition to six European concert tours, noted
performances of his middle, upper, and college choirs include invited performances for the Missouri Music Educators' State
Conference, Louisiana Music In-Service Conference, Georgia Music Educators' State Conference, ACDA-Southern Division
Convention; and a special Symphony Hall collaboration between his Woodward Academy choirs and the Atlanta Symphony
Orchestra. He has conducted a variety of state and region honor choirs and has served as guest conductor for the award winning
Landesjungenchor from Koblenz, Germany. As chorister and soloist, Dr. McClung spent three seasons singing with the Atlanta
Symphony Chorus and Chamber Chorus under the direction of Robert Shaw.
An active member of ACDA and NAfME, he has served as a national delegate to ACDA's International Conductor Exchange
with Germany and Sweden, Georgia's ACDA Repertoire and Standards Chair for High Schools, Georgia Music Educator’s
State Choral Chair, Missouri's ACDA Repertoire and Standards Chair for Colleges and Universities, and the R & S Chair for
Southwest ACDA’s Student and Youth Activities. As a distinguished choral music educator, he is invited frequently to present
at state, divisional, and national music conferences. Additional presentations include master classes at Roehampton University,
London, England. Articles by Dr. McClung have appeared in Southeastern Journal of Music Education, ACDA's Choral
Journal, MENC's Music Educators Journal, Update: Applications of Research in Music Education, and Journal of Research in
Music Education. He is the author of Movable Tonic: A Sequenced Sight-Singing Method, a GIA publication and director of the
Cambiata Institute of America for Early Adolescent Vocal Music. A UNT Honors Professor, he was recently named the new
managing editor of Cambiata Press, a publication company dedicated to the changing voice. On May 6-7, 2016, he will
facilitate the 3rd MS/JH National Conference for Choral Music: www.music.unt.edu/cambiata.