2015 Observations on the Sight‐Singing Samples

Sight‐Singing Requirement:

Singing at sight a tonal melody of 8 to 12 bars, which is in simple or compound time

within a range of an octave and with a key signature of not more than 3 sharps or 3

flats. The highest note is high D and the lowest note is Bb below middle C for a

melody written in treble clef. The same range but at an octave lower would apply for

a melody written in bass clef.

About the Sight‐singing Samples

Samples of sight‐singing melodies can be found on the website under HKEAA HKDES

Music Subject. The summary of the features of these melodies include:

1. A melody without an accompaniment is written with a treble or bass clef.

2. A key‐signature and a time‐signature are provided.

3. A key chord in block‐chord format with the first note of the melody highlighted is

inserted right next to the time‐signature, just before the first note of the melody.

4. A tempo mark in Italian is written above the stave and at the beginning of the

melody.

5. The melody is tonal, diatonic and spread within the range of an octave. It should

be made up of a reasonable proportion of both stepwise melodic progressions

and leap intervals.

6. While the range of the melody does not necessarily always fulfill the range of an

octave, nevertheless it should not be too narrow.

7. The melody should have proper phrase mark indication.

8. The note values and rhythmic patterns are not too complicated.

9. Dynamic marking and signs for articulation are not necessary.

Observations on the Sight‐Singing Samples

Sample Observations

1. a. The melody basically aligns with the criteria except for the

chromatic note in bar 6.

b. The key‐chord and tempo mark are missing.

2. a. The melody basically aligns with the criteria except for the

chromatic note in bar 7.

b. The key‐chord, tempo mark and phrase marks are missing.

HKDSE Music (for seminar on Oct 2015) 1

                

                           

                 

       

                   

           

 

                   

                       

 

                           

                 

       

         

           

 

                           

                 

       

         

                     

         

 

                         

             

 

                     

     

                     

                     

 

               

           

 

                       

         

                     

       

                 

                           

3. a. The range of the melody is not wide enough, only a perfect fifth.

b. The balance of stepwise melodic progression and intervallic

leaps is not satisfactory.

c. The key‐chord, tempo mark and phrase marks are missing.

d. The dynamic marks are unnecessary.

4. a. The melody basically aligns with the criteria.

b. The notation for the F# in bar 7 can be improved.

5. a. The range of the melody is not wide enough, only a perfect fifth.

b. The balance of stepwise melodic progression and intervallic

leaps is not satisfactory.

c. The key‐chord is missing.

d. The dynamic marks are unnecessary.

6. a. The range of the melody is not wide enough, only a perfect fifth.

b. The balance of stepwise melodic progression and intervallic

leaps is not satisfactory.

c. The key‐chord is missing.

d. Only the term ‘moderato’ is sufficient for indicating the tempo.

e. The key‐chord is missing.

7. a. The melody basically aligns with the criteria, except the C# in

bar 7, which exceeds an octave.

8. a. The format of the score is unacceptable. No accompaniment

should be provided.

b. The setting of the melody may comply with the criteria,

although some of the leaps may be challenging, so is the

phrasing.

c. The tempo marking is a bit tricky.

d. The dynamic marks are unnecessary.

9. a. The melody may comply with the criteria except for the

chromatic note in bar 4.

b. The melodic setting changes from phrase to phrase which may

be a bit challenging.

c. The staccato articulation in bar 7 is unnecessary.

10. a. The melody is too long. The first eight bars may be sufficient

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perhaps with slight alterations of melodic intervals and /or

rhythmic changes.

b. The key‐chord and phrase‐marks are missing.

c. Only the term ‘moderato’ is sufficient for indicating the tempo.

11. a. The range of the melody is acceptable, but the balance of the

stepwise melodic progressions and intervallic leaps is not

satisfactory.

b. The rhythm may be improved.

c. The key‐chord is missing.

d. Only the term ‘allegro’ is sufficient for indicating the tempo.

12. a. The range of the melody is suitable but the intervallic leaps and

the rhythm are tricky.

b. The phrasing is a bit challenging.

c. Marks of articulation are not necessary.

13. a. The melody is aligned with the criteria.

b. The dynamic marks are unnecessary

14. a. The range of the melody exceeds an octave (it is a 9th).

b. The melodic motion may be a bit challenging.

c. The key‐chord and tempo mark are missing.

d. The phrase marks are missing.

15. a. The melodic motion is quite rugged and tricky.

b. The chromatic note in bar 6 is beyond the requirement.

16. a. The melody is aligned with the criteria.

HKDSE Music (for seminar on Oct 2015) 3

 

 

 

 

 

 

   

 

 

   

   

     

   

 

   

 

   

 

     

 

 

 

 

2015 HKDSSE Music Paaper 2 (Perfforming I) –– Sight‐singiing sampless used by caandidates

Number Sight‐singiing sampless

1

2

3

4

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5

6

7

8

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9

100

111

122

133

HKDSE Music (for semminar on Oct 22015) 6

 

   

 

 

 

 

 

             

 

 

144

155

166

HKDSE Music (for semminar on Oct 22015) 7