Chapter 01 (Lectures 1-6)
A1 pitch: C, E, G
B1 Interval: Perfect fifth, major third
C1 Triad: Major, Minor
D1 note length: whole note, half note
E1 scale: major scale, natural minor scale
F1 Chord Progression: I, IV, V
G1 Instrument: Piano

Chapter 02 (Lectures 7-12)
A2 pitch: Do, Fa, La
B2 Interval: Perfect 4th, Major 6th
C2 Triad: Augmented
D2 note duration: quarter note
E2 Scale: Harmonic Minor Scale
F2 Chord Progression: IIm
G2 Instrument: Drum

Chapter 03 (Lectures 13-18)
A3 pitch: Re, Si
B3 Interval: Major 2nd, Major 7th
C3 Triad: Diminished
D3 note duration: dotted half note
E3 Scale: Minor scale
F3 Chord Progression: VIm
G3 Instrument: Bass

Comprehensive Problem 1 (Lecture 19)

Chapter 04 (Lectures 20-25)
A4 pitch: 2 octaves
B4 Interval: minor 3rd, minor 6th
C4 Triad: Major, Minor with changed root notes
D4 note duration: 8th note
E4 Mode: Dorian
F4 Chord Progression: IIIm
G4 Instrument: Acoustic Guitar

Chapter 05 (Lectures 26-31)
A5 pitch: 2 octaves
B5 interval: minor 2nd, minor 7th
C5 Triad: Augmented with the root note changed
D5 note duration: dotted quarter note
E5 Mode: Phrygian
F5 Chord Progression: Diatonic 8 measures
G5 Instrument: Electric Guitar

Chapter 06 (Lectures 32-37)
A6 pitch: one octave below
B6 interval: diminished fifth, perfect eighth
C6 Triad: Diminished with changed root note
D6 note duration: 16th note
E6 Mode: Lydian
F6 Chord Progression: Fractional Chord
G6 Instrument: Strings

Comprehensive Problem 2 (Lecture 38)

Chapter 07 (Lectures 39-44)
A7 pitch: 2 octaves
B7 interval: perfect pitch
C7 7th chord (7th): M7, 7
D7 note duration: dotted eighth note
E7 Mode: Mixolydian
F7 Chord Progression: SD
G7 Instrument: Brass

Chapter 08 (Lectures 45-50)
A8 pitch: shi
B8 Interval: Major interval
C8 chord: sus4, 2, 6, m6
D8 note length: triplet
E8 Mode: Locrian 172
F8 Chord Progression: MI

G8 Instrument: Lead

Chapter 09 (Lectures 51-56)
A9 pitch: wave
B9 interval: single note
C9 7th chord (7th): m7, m7(5), dim7
D9 note lengths: 2/4, 3/4, 6/8
E9 Mode: Jazz Minor
F9 Chord Progression: ND
2-5-1
G9 Instrument: Organ, Clavinet

Comprehensive Problem 3 (Lecture 57)

Answer sheet

Sight-singing is a fundamental skill for those who make music.
Just as athletes train their muscles regardless of the sport, musicians need consistent sight-singing and ear training.
But despite its importance, there were many people who said they did not understand the art of singing even after learning it.
In reality, many people with relative pitch have difficulty sight-singing because they practice melodies and rhythms that are too difficult without having the basics prepared.

Until now, most sight-singing practice has been closer to the classical field, focusing on hearing the notes and singing them.
However, in the field of practical music, it is necessary to practice not only listening to and singing the notes, but also understanding the progression and ensemble of instruments within the larger framework of the chord.

Ilsan Oppa's Practical Music Sight-Chanting and Listening is structured to focus more on the practical music field, so that you can practice not only melody and rhythm, but also chords, progressions, and instruments.


I hope that through this book, many people will be able to achieve good results in their practice of sight-reading and listening comprehension, which they are struggling with.