Embedded Files
Objectives
Objectives
By the end of this lesson, students will be able to:
Sight sing and improvise melodies that incorporate skips in IV and ii over a given chord progression in major or minor.
Demonstrate further proficiency in sight reading, improvising, and transcribing rhythms that incorporate the dotted 8th-16th-8th pattern in compound time.
Transcribe chord progressions and melodies in examples from the repertoire that incorporate predominant harmonies including ii, ii6, and IV as a predominant function in the phrase model.
Listen to examples from the repertoire and aurally identify T, PD, and D chords in the context of the phrase model.
Preparation for Class
Preparation for Class
Read:
Read:
The Do/Ti Test Extensions (Chenette, Foundations of Aural Skills)
Identifying Common Chords Through Exposure (Chenette, Foundations of Aural Skills)
Improvising a Chordal Accompaniment to a Melody (Chenette, Foundations of Aural Skills)
Improvising over a Chord Progression (Chenette, Foundations of Aural Skills)
Improvisation III: Predominant Chords (Cleland & Dobrea-Grindahl, Developing Musicianship through Aural Skills)
Read pp. 254–255 only. (Available online through the library)
Watch
Watch
Hearing I-IV-V in a Block Chord Texture (Beethoven)
(Cynthia Gonzales, 2 mins)
Hearing I-IV-V in a Block Chord Texture (Beethoven)
(Cynthia Gonzales, 2 mins)
Hearing I-IV-V in Tshotsholoza
(Cynthia Gonzales, 4 mins)
Hearing I-IV-V in Tshotsholoza
(Cynthia Gonzales, 4 mins)
Hearing Supertonic ii = re fa la
Cynthia Gonzales (1 min)
Hearing Supertonic ii = re fa la
Cynthia Gonzales (1 min)
I-ii-V-I
DrGTxState (1 min.)
I-ii-V-I
DrGTxState (1 min.)
Study Aids
Study Aids
Phrase Model with Predominant Chords
Source: Sarah Louden
Harmonic Flowcharts for Major and Minor
Source: Robert Hutchinson, Music Theory for the 21st Century Classroom
In-Class Activities
In-Class Activities
Improvisation
Improvisation
Rhythmic Improvisation: 16ths in Compound with Dotted 8ths: Continued practice improvising with dotted 8ths in compound time from Unit 2-4.
Melodic Improvisation with Predominants: See the directions for melodic improvisation in Unit 2-3 here.
Chord Grids
IV Chords: I - IV - V - I or I - I - IV - V or I - IV - V7 - I
ii Chords: I - ii - V - I or I - ii - V7 - I
Chord Players:
IV chords: I - IV - V - I (in DM), i - i - iv - V (in Em), I - IV - V7 - I (in BbM)
ii Chords: I - ii - V - I (in AM, 3/4), i - iiº6 - V - i (in Am, 3/4), I - ii - V7 - I (in FM)
Sight Reading
Sight Reading
Melodic Sight-Reading: Melodies that incorporate skips within ii and IV. Focus on melodies that also incorporate compound subdivisions.
Rhythm Sight-Reading: Continued work with dotted-8th-16th patterns in compound time. See the section "Dotted 8th-16th Patterns"
Aural ID and Dictation
Aural ID and Dictation
Aural Anthology: See the section "Transcription: I, IV, V in root position." Transcribe the melody, bass, and Roman numerals for the examples. Label chord functions and cadences by type.
Theory Anthology: See the section "T - PD - D - (T)" for dictation examples that incorporate predominant chords (ii, ii6, or IV) as part of a T-PD-D-(T) progression.
As a warm-up exercise, just listen to each example and try to identify the measure and beat where each chord function (T, PD, D) enters. Notate your chord functions with harmonic rhythm. See below:
Ex 1: | T | T | PD. | D |
Ex 2: | T | PD | D | T |
Ex 3: | T | T | PD D | T |
Practice
Practice
Auralia:
Chord Progressions: Levels 3c, 3e–4c
Chord Recognition: Level 2a
Counterpoint Singing: All Levels
Melodic Dictation: Levels 5a–6a, 6d
Part Dictation: Levels 3a–3c
Rhythm Dictation: Level 7c
Rhythm Element Dictation: Level 4c
Musition:
Rhythm Tapping: Level 6b
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