Embedded Files
Objectives
Objectives
By the end of this lesson, students will be able to:
Sight read, improvise, and transcribe rhythms that incorporate 16th notes in compound time.
Evaluate their level of proficiency in hearing harmonic rhythm, determining chord quality, and hearing tonic and dominant harmony; and describe strategies for building proficiency in harmonic dictation.
Demonstrate further proficiency in distinguishing between perfect authentic, imperfect authentic, and half cadences in examples from the repertoire.
Preparation for Class
Preparation for Class
Read:
Read:
Reading the following from Foundations of Aural Skills (Timothy Chenette)
Review (as needed) from Aural I:
In-Class Activities
In-Class Activities
Improvisation
Improvisation
Rhythmic Improvisation Subdivisions in Compound Time: 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.
Sample Backing Track in 6/8
Sight Reading
Sight Reading
Melodic Sight-Reading: Continued review of sight-singing. Focus on melodies in compound time with subdivisions.
Rhythm Sight-Reading: See the section "16th Notes (no dotted 8th)" to practice rhythms that include subdivisions in 6/8, 9/8, and 12/8
Warm up with the preparatory exercise "Second Division of the Beat in Compound Meter" from Cleland & Dobrea-Grindahl, Developing Musicianship through Aural Skills
Aural ID and Dictation
Aural ID and Dictation
Aural Anthology (Harmonic Rhythm): Review strategies from the reading for hearing chord changes and basslines. This anthology page includes a list of songs with audio that shuttle between only two chords, ideal for focusing on harmonic rhythm and identifying major and minor chords in context. Don't worry about the Roman numeral, just focus on hearing chord changes, basslines, and chord quality.
If you want to practice chord ID, see the tab at the bottom for "I, V" to practice with just two chords that incorporate I and V only.
Aural Anthology (Cadences): Identify examples of perfect authentic, imperfect authentic, and half cadences in examples from the repertoire. (See the first section, "Authentic & Half Cadences.")
Theory Anthology (Cadences): See examples of cadences in the theory anthology for additional aural ID practice.
Practice
Practice
Auralia:
Chord Recognition: Level 1a
Counterpoint Singing: All Levels
Melodic Motion: Level 1
Rhythm Dictation: Level 7a
Rhythm Element Dictation: Level 4a
Solfege ID: Level 4
Musition:
Rhythm Tapping: Level 6a
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