Unit 2-4: Modes

Objectives

By the end of this lesson, students will be able to:

Sight-sing, transcribe, and improvise melodies that incorporate the dorian, phrygian, lydian, and mixolydian modes.
Sight-read and transcribe rhythms that incorporate 2:3 polyrhythms.
Transcribe chord progressions that incorporate modal shuttles, including i-IV, I-bVII, i-bVI, i-iv.
Improvise a simple melody over progressions that use chordal shuttles.

Preparation for Class

Read:

Modes (Cleland & Dobrea-Grindahl, Developing Musicianship through Aural Skills) - Read pp. 487-488
3's and 2's: Hemiola and Other Across-the-Beat-Rhythms (Chenette, Foundations of Aural Skills)
Polyrhythms (Cleland & Dobrea-Grindahl, Developing Musicianship through Aural Skills) - Read pp. 458–461
Review: “Solfège and Scale Degrees: Modes” in your Aural Anthology (as needed)

Watch

Songs that Use Polyrhythms & Polymeters
(David Bennet, 13 mins)

Explore

Check out this bouncing metronome to get a feel for 3:2 polyrhythm. Try singing the 2's while clapping the 3's along with the video. Then, reverse the two, singing the 3's.

Reference Aids

Handout: Modes: Triads built on Each Step (Source: Sarah Loudem , NYU)

Relative Darkness and Brightness of Modes (Source: Chelsey Hamm, OMT, "Introduction to Diatonic Modes")

This is a spectrum. "Darker" is on the left and "brighter" is on the right. In order, the modes from left (darker) to right (brighter) are Locrian (lowered te - 7, ra - 2, me - 3, se - 5, and le - 6); Phrygian ((lowered te - 7, ra - 2, me - 3, and le - 6), Aeolian (lowered te - 7, me - 3, and le - 6), Dorian (lowered te - 7 and me - 3), Mixolydian (lowered te - 7), Ionian, and Lydian (raised fi - 4).

In-Class Activities

Improvisation

Rhythmic Improvisation (Hemiola): Select a time signature (2/4, 3/4, or 4/4), then improvise rhythms using the grid below, being sure to include the triplet divisions to create 2:3 polyrhythms with your backing track. For additional practice, take turns doing call and response. Improvise one measure using a neutral syllable; the class responds by singing back the rhythm with correct rhythmic syllables to ID the rhythm.
Melodic Improvisation Modal Shuttles: Create a chord grid to accompany each progression and practice singing in the mode the progression is written in. Then, to continue practice with pentatonic collections, try improvising over each shuttle with a major or minor pentatonic scale.
- - Chord Players:
    - - Dorian: i-IV (In G, 2/4)
      - Mixolydian: I - bVII (In Bb, 4/4)
      - Aeolian: i - bVI (In A, 3/4)
      - Aeolian: i - iv (In F, 4/4)
  - Experiment with different styles, tempos, keys, and progressions:
  - For a variation, try the Improvisation Train exercise introduced in Unit 1-1 here.

Sight Reading

Melodic Sight-Reading: Sight read melodies in the section "Modes."
- - Warm up by singing through the modes with solfege. See the scales with solfège labeled in your anthology here.
Rhythm Sight-Reading (Polyrhythm): Sight-read two-part rhythms in the section "Two against Three." Perform the rhythms with a partner or sing one part while you clap the other. These rhythms include triplet divisions across one and two beats.
- - Warm up by practicing hemiola as a group. Use the 3:2 visual metronome (in the "Watch" section above) as a guide. Have one half of the class clap or sing the 2's, while the other half sings the 3's, then switch. Try clapping one while singing the other.
Rhythm Sight-Reading (Triplets): Sight-read rhythms in all sections. These are melodies that incorporate triplets over once or two beats that can be performed against a steady backing track to practice feeling 2:3.

Sight Singing: Modal Melodies

Rhythms: 2:3 Polyrhythms

Rhythms: Triplets

Assignment

Assignment 2-4

NEXT STEP

Next Unit: Harmony & Schemata

Additional Practice

Auralia:
- Non-Western & Folk Melodies: Levels 4a–7c
- Pop Chord Progressions: Levels 1a–2
- Rhythm Dictation: Level 11
- Scales: Level 3a–3c
Musition:
- Rhythm Tapping: Levels 9a, 9b
- Polyrhythms: Levels 1–2

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