This series provides a solid grounding in solfège while avoiding rhythmic complexity. To accommodate choirs with boys’ changing voices (cambiata), each mixed choir version contains one voice part that stays within the cambiata range. In the SATB edition, this is the Tenor part. In the SAB and SA(T)B editions, it is the Bass part. The (T) in the SA(T)B version duplicates the Bass part, but in Tenor clef, creating the appearance of four voices in a three-voice composition—great for choirs with small (or weak) tenor and/or bass sections. For boys’ choirs we provide the TCB editions (Treble, Cambiata, Bass). Reproducible PDFs.
Easy Rhythms Sight-Singing Series — SA(T)B
This series provides a solid grounding in solfège while avoiding rhythmic complexity. To accommodate choirs with boys’ changing voices (cambiata), each mixed choir version contains one voice part that stays within the cambiata range. In the SATB edition, this is the Tenor part. In the SAB and SA(T)B editions, it is the Bass part. The (T) in the SA(T)B version duplicates the Bass part, but in Tenor clef, creating the appearance of four voices in a three-voice composition—great for choirs with small (or weak) tenor and/or bass sections. For boys’ choirs we provide the TCB editions (Treble, Cambiata, Bass). Reproducible PDFs.
Easy Rhythms Sight-Singing Series — SATB
This series provides a solid grounding in solfège while avoiding rhythmic complexity. To accommodate choirs with boys’ changing voices (cambiata), each mixed choir version contains one voice part that stays within the cambiata range. In the SATB edition, this is the Tenor part. In the SAB and SA(T)B editions, it is the Bass part. The (T) in the SA(T)B version duplicates the Bass part, but in Tenor clef, creating the appearance of four voices in a three-voice composition—great for choirs with small (or weak) tenor and/or bass sections. For boys’ choirs we provide the TCB editions (Treble, Cambiata, Bass). Reproducible PDFs.
Easy Rhythms Sight-Singing Series — TCB (Treble-Cambiata-Bass)
This series provides a solid grounding in solfège while avoiding rhythmic complexity. To accommodate choirs with boys’ changing voices (cambiata), each mixed choir version contains one voice part that stays within the cambiata range. In the SATB edition, this is the Tenor part. In the SAB and SA(T)B editions, it is the Bass part. The (T) in the SA(T)B version duplicates the Bass part, but in Tenor clef, creating the appearance of four voices in a three-voice composition—great for choirs with small (or weak) tenor and/or bass sections. For boys’ choirs we provide the TCB editions (Treble, Cambiata, Bass). Reproducible PDFs.
Let’s Get Started — Unison ( Treble & Bass, both in Cambiata range )
If your choir can sing up and down the scale, they're ready to dive into this series. Vol. 1 is completely stepwise and diatonic. All five volumes parallel the corresponding three- and four-voice versions so that the two voicings could be used concurrently, if desired. warm up with Let's Get Started in unison, then move right on to the corresponding three- or four-part music in the same session. Each unison volume contains 300 exercises. Virtually all keys are covered. The treble and bass versions contain the same music but in different clefs. The cambiata version remains totally within the cambiata range, with all melodies represented in both treble and bass clefs on each page. This series is also useful as a tool to measure individual progress. Reproducible PDFs.
National Treasures — SAB
Liberate your choir from dependence on solfege and help them to move on to this next level of musicianship: SIGHT-SINGING WITH WORDS. This series is entitled National Treasures because it draws its texts from a variety of Americana. POETS: Frost, Dickinson, Sandburg, Longfellow, Thoreau, Emerson, Whitman, and Poe; HISTORICAL FIGURES: Jefferson, Franklin, Lincoln, Roosevelt, Wilson; and NATIONAL DOCUMENTS, such as the Declaration of Independence and the Constitution. In the SAB version, the bass part is written in the Cambiata range, so it can be sung by tenors, baritones, and boys with changing voices. These compositions are short, yet musically satisfying and textually meaningful. PLEASE NOTE: This series is not a substitute for systematic solfege training. It assumes a reasonable ability in solfege as a prerequisite. Completion of any of our other sight-singing series is more than adequate preparation. Reproducible PDFs.
