Embedded Files
Objectives
Objectives
By the end of this lesson, students will be able to:
Sight read melodies that incorporate skips or leaps to other diatonic scale degrees.
Sight read rhythms in compound time that incorporate syncopation at the 16th-note level in compound time.
Aurally identify chord changes in a harmonic progression using I, IV, V, ii, and vi chords in root position.
Aurally identify deceptive cadences in examples from the repertoire.
Preparation for Class
Preparation for Class
Read:
Read:
Optional Review: The Pre-Dominant Function," Chapter 24 in Fundamentals, Function, and Form, by Andre Mount.
Watch
Watch
Songs that Use 2-5-1 Chord Progressions
Songs that Use 2-5-1 Chord Progressions
(David Bennett Piano, 18 minutes)
I-VI-II-V-I Chord Progression
I-VI-II-V-I Chord Progression
(Berklee Online, 5 minutes)
Explore
Explore
Check out the Chord Player here or the Sequencer in the Online Orchestra here. Put together a 4-bar chord progression that uses a ii and/or vi chords.
Sing the bassline of your progression, then try arpeggiating each chord as it plays.
Then, try improvising over the top of the chords. Be sure to use solfège so that you're conscious of which scale degrees and members of the chord you're singing. (See the Improvisation activity in the "In-Class Activities" below for some chord grids to use as a guide.)
In-Class Activities
In-Class Activities
Discussion
Discussion
Major or Minor?: Listen to the opening verse of the song "Ain't Got No/I Got Life" from the musical Hair, as performed by Nina Simone (0:00–0:30). The verse features a lot of oscillating between a major triad and a minor triad. Do you think the main progression is vi-I, or i-III? Why? Which chord sounds like tonic? How does this ambiguity mesh with the song's lyrics?
Activities
Activities
Listening for Chord Changes (I-vi-ii-V): Listen to excerpts from popular music that include I-vi-ii-V chords played by your instructor. Conduct while you listen and transcribe the chords you hear in each bar. As an example, for a 4-bar phrase, you might transcribe: | I | vi | ii | V | .
Instructors: Find the playlist with solutions in the instructor anthology here.
Differentiating Between ii and IV: Listen to excerpts from popular music that include either ii or IV chords. For example, a song may contain either a I-IV-V-I or a I-ii-V-I chord progression. IV and ii sound pretty similar. They both contain 2 of the same scale degrees and often go to V. Discuss strategies for differentiating between these two chords.
Listen for Deceptive Cadences: Listen to examples from the repertoire and practice identifying cadences as Authentic, Half, Plagal, or Deceptive (see the link to the anthology below). Discuss strategies for aurally differentiating between authentic, half, and deceptive cadences.
Improvisation :
Fill-in-the-Blank: Use the exercises from the reading to practice filling in the empty measures with improvisations on ii (or vi), focusing on scale degrees 2, 4, 6, and 1. See pp. 256–261 in Developing Musicianship here.
Improvising Melody with Harmony: Open up one of the chord grids below and try the chord improvisation and call & response activity outlined in Unit 6-1 with the ii and vi chord:
Repertoire for Practice
Repertoire for Practice
Sight Reading:
Rhythm: Continued work with dotted 8th note rhythms in compound time.
Melody: Other diatonic leaps and skips
Critical Listening/Dictation:
Chord Dictation with examples from the repertoire that include ii and vi.
Examples from the repertoire that include PAC, IAC, HC, Plagal, and Deceptive cadences
Additional Optional Practice
Additional Optional Practice
Musition:
Rhythm Tapping: Level 6d
Auralia:
Rhythm Elements: Level 5c
Rhythm Element Dictation: Lvl 4g
Rhythm Dictation Lvl 7f, 7g
Auralia:
Cadences: Levels 6a–7b
Chord Progressions: Levels 4–5
Two-Part Rhythmic Dictation: Levels 9–10
Melodic Dictation: Levels 7a, 7b
Page updated
Report abuse