Embedded Files
Objectives
Objectives
By the end of this lesson, students will be able to:
Sight-read melodies that incorporate chromatic embellishing tones with a leap or skip on one side and a step on the other.
Sight-read rhythms in compound time that incorporate the dotted 8th-16th-8th note pattern and 16th note subdivisions.
Aurally identify chord changes in a harmonic progression using I, V, and V7 chords.
Aurally differentiate between perfect authentic, imperfect authentic, and half cadences in examples from the repertoire.
Preparation for Class
Preparation for Class
Read:
Read:
"Dominant Seventh Chords" (Cleland & Dobrea-Grindahl, Developing Musicianship through Aural Skills) - Read pp. 175–176 only. (Available online through the library)
Optional: For a review of dominant 7th chords see "The Dominant Seventh Chord," Chapter 19 in Fundamentals, Function, and Form, by Andre Mount.
Watch
Watch
Learn David Newman's "Sol Ti Re Fa Dom7 Song" from the hit album The Well Trained Ear (2019).
You can find the full album info and lyrics here.
Explore
Explore
Check out the Chord Player here. Put together a 4-bar chord progression that uses a sequence of I and V7 chords.
Continue practicing with the Do/Ti test to hear tonic and dominant, as well as singing the Do and Sol bassline.
Then, focus on what makes the V7 different. Find "Mi" and sing that over the tonic chords and "Fa" over the V7 chords. Lean into dissonance of the "Fa" in the V7 and consciously let it fall to "Mi" when the chord goes back to tonic.
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 "Study Aids" below for an improvisation guide.)
Study Aids
Study Aids
Visual Guide for Improvising Solfège Above a I - V7- I - V progression.
In-Class Activities
In-Class Activities
Discussion
Discussion
V vs. V7: Sometimes it's difficult to aurally tell the different between a V and a V7 chord. If they're in root-position, they share the same bass note and they share 3 of the same chord tones. What makes them sound different? What intervals are in the V7 that aren't in the V? How does this change the effect of the chord? Which chord sounds more stable? What scale degree is in a V7 that isn't in a V?
Have a classmate or instructor play chord progressions with only I, V, and V7. When you get to a dominant chord, identify whether it's a V or V7. If it's a V7, sing "Fa," then resolve Fa down to Mi in the tonic chord that follows.
Non-Conventional Uses of the V7: In Western "classical" harmony, dominant seventh chords typically resolve to tonic. What are some other uses of dominant seventh chords? In what genres do they occur? How else might they be used in progressions with other chords? (Think back to the discussion of tuning systems and the blues . . .)
Activities
Activities
Listening for Chord Changes: Listen to excerpts from popular music that include I, V, and V7 chords. 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 | V7 | V7 | I | .
Instructors: Find the playlist with solutions in the instructor anthology here.
Discuss different strategies as a class (or in groups) for hearing the chord changes based on your discussion above. A few ideas include:
1) Listen to the bassline: If you hear Do, it's a I chord; if you hear Sol, it's a V chord. Try singing along with the bassline in the examples played.
2) Try the "Do-Ti Test." Sing Do and hold it while you listen. If Do seems to fit the harmony, it's a I chord. If you feel like you need to slide down to Ti to get the note you're singing to fit the chord, it's a V chord.
Listen for IAC and PAC Cadences: Listen to examples from the repertoire and practice identifying cadences as PAC, IAC, or HC (see the link to the anthology below). Discuss strategies for aurally differentiating Perfect Authentic and Imperfect Authentic Cadences.
Improvisation with Harmony: Open up the I-V7-I-V chord grid to use as a visual. Try the chord improvisation and call & response activity outlined in Unit 6-1. The variation here is the V7 chord. If you land on the downward triangle (Fa) as the last note in m. 2, you must move down to Mi in the next chord. You may improvise melodies individually or everyone can sing together at the same time (or in smaller groups) to create harmony out of the layered melodies.
Differentiate between V-I and V7-I: Play a series of cadences and try to discern whether or not the dominant was a V or a V7.
Repertoire for Practice
Repertoire for Practice
Sight Reading:
Rhythm: Continued work with subdivisions in compound time. No dotted 8ths.
Melody: Chromatic embellishing tones with a leap/skip on one side.
Critical Listening/Dictation:
Chord Dictation: Examples that contain only I and V7 chords in root position
PAC & IAC: Examples from the repertoire for practice cadence ID
Additional Optional Practice
Additional Optional Practice
Musition:
Rhythm Tapping: Level 6b
Auralia:
Rhythm Elements: Level 5a
Rhythm Element Dictation: Lvl 4c
Rhythm Dictation Lvl 7c
Auralia:
Cadences: Levels 3a–4b
Chord Imitation: Levels 3a, 3b
Chord Singing: Levels 3a, 3b
Chord Recognition Level 2a, 2b
Chord Progressions: Levels 2a–1c
Solfege ID: Level 5b, 5c
Melodic Dictation: Level 3a, 3b
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