Unit 6-2: Other Applied Chords and ii-V-I's

Objectives

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

Sight read, improvise, and transcribe rhythms that incorporate 16th note rests and ties with subdivisions in compound time.
Sight sing and improvise melodies that incorporate skips between applied ii, iii, IV, and vi chord tones over a given chord progression in major or minor.
Identify examples of applied chords of ii, iii, IV, and vi in the repertoire and examples of applied ii-V-I's.
Transcribe the melody and chords for an example that incorporates applied chords or applied ii-V-I progressions.

Preparation for Class

Watch

V7/vi: Sing & Hear It
Cynthia Gonzales (3 mins)

Bach Cello No. 4, BWV 1010, Prelude (mm. 1–9)
Cynthia Gonzales (4 mins)

Listen for the embedded ii-V-I's in these jazz backing tracks. Try to sing along with the descending 5ths in the bass.

Backing Track: Autumn Leaves in Gm (Slow Jazz)
BearlyMusic (11 mins)

Backing Track: Blue Bossa in C Minor
BearlyMusic (16 mins)

Explore

Hearing Applied Chords: Practice building chord progressions in Chord Player that use secondary dominants and applied "ii-V-I" progressions discussed in the theory reading and singing along with an improvised melody to get the sound of these chords in your ears.

Reference Aids

The Circle of 5ths
Image credit: Sarah Louden

A Circle of Fifths diagram is shown, visually divided into twelve segments like a pie chart. The outer ring of segments displays Roman numerals, while the inner ring displays corresponding note names. Starting at the top and moving clockwise, the outer ring shows: I, V, ii, vi, iii. Counterclockwise shows I, IV, flat-VII, flat-III, flat-VI, flat-II. The inner ring, starting at the top and moving clockwise, shows: C, G, D, A, E, B, F#/Gb, Db, Ab, Eb, Bb, F. The diagram is divided into two halves by shading. The right half is shaded a darker gray, with an arrow labeled "Descending 5ths" curving clockwise along the edge. The left half is shaded a lighter gray, with an arrow labeled "Descending 4ths" curving counter-clockwise along the edge.

In-Class Activities

Improvisation

Rhythmic Improvisation (16th Note Rests in Compound): Select a time signature (6/8, 9/8, or 12/8), then improvise rhythms using the rhythm grid below. Use the rhythmic syllables specified by your instructor and conduct while you improvise. 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.
- - Rhythm Grid with Takadimi syllables
  - Rhythm Grid without rhythmic syllables
Melodic Improvisation (Applied Chords of ii, iii, IV, vi): Compose a progression that incorporates at least one secondary dominant of ii, iii, IV, or vi (or pick one from the anthology) or an applied ii-V-i progression. Sing through arpeggiations of each of the chords, then improvise a simple melody over the chord progression without using a chord grid (but visualizing it while you sing). Create a backing track using an online chord player like Chord Player, Musicca Chord Player, or ChordChord to fit your progression. Be sure to discuss tendency tones and chromatic scale degrees!
Improvising with Applied ii-V-I's: Check out the two Backing Track videos in the "Watch" section above. Listen to the progressions, then try improvising along with the recording.

Sight Reading

Melodic Sight-Reading: Sight-read melodies in the section "All Applied Chords."
- Also try singing the "Secondary Dominants Song" by David Newman. The link provides access to the audio and sing-along lyrics.
Rhythm Sight-Reading: Sight-read rhythms in the section "Adding 16th Rests & Ties."

Sight Singing: Chromatic Chords

Rhythms: Compound Subdivisions

Aural ID and Dictation

Aural Anthology: Listen for examples of secondary dominants in the section "Secondary Dominant ID." The second section on the spreadsheet includes all secondary dominants. Identify where in the phrase you hear a secondary dominant, by specifying the measure number or the lyrics. Then, identify the chord that it resolves to in order to determine whether it's a secondary dominant of ii, iii, IV, V, or vi.
- - For extra practice try to transcribe all of the chords you hear, using Roman numerals and chord symbols.
Theory Anthology: Listen to examples in the section "V7/x" to find additional examples for transcription practice.
Transcription 1: "Don't Know Why": Listen for examples of secondary dominants and transcribe selections from Norah Jones's "Don't Know Why" as specified by your instructor.
- - Instructor Note: See a copy of the score and notes in the Instructor Companion Site.
Transcription 2: "Misty": Listen for examples of ii-V-I's in Erroll Garner's song "Misty."
- - Instructor Note: See a copy of the score in the Instructor Companion Site.

Aural Anthology: Applied Chord ID

Theory Anthology: V7/x

Assignment

Assignment 6-2

NEXT STEP

Next Unit: Modulation

Additional Practice

Auralia:
- Advanced Part Dictation: Levels 3a, 3b
- Advanced Progressions: Levels 2–3b
- Melodic Dictation: Level 10d
- Pop Chord Progressions: Level 10b
- Rhythm Dictation: Level 7e–h
- Rhythm Element Dictation: Level
- Rhythm Element Dictation: Level 4h
- Two-Part Rhythm Dictation: Levels 9a–9b
Musition:
- Rhythm Tapping: Level 6e

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