Embedded Files
Objectives
Objectives
By the end of this lesson, students will be able to:
Sight read, improvise, and transcribe rhythms that include all dotted 8th and syncopated patterns in compound time.
Sight sing and improvise melodies that incorporate passing and neighbor tones, appoggiaturas, and escape tones; and demonstrate further proficiency with melodies that include skips within IV and ii.
Demonstrate further proficiency in transcribing chord progressions and melodies in examples from the repertoire that incorporate V7 chords and predominant harmonies.
Listen to examples from the repertoire and aurally identify passing and neighbor tones, appoggiaturas, and escape tones by type.
Transcribe melodies that incorporate the embellishing tones above and label each by type in the transcription as P, N, A, or E.
Preparation for Class
Preparation for Class
Read:
Read:
The following readings are from Foundations of Aural Skills (Timothy Chenette)
Study Aids
Study Aids
Handouts
Summary of Embellishing Tones (Sarah Louden)
Nonharmonic Tones Handout (Toby Rush)
Sparky the Theory Dog Presents: Suspensions (Toby Rush)
Examples of Neighbor (N) and Passing Tones (P)
Source: Timothy Rolls (Theory II: Non-Chord Tones)
In-Class Activities
In-Class Activities
Improvisation
Improvisation
Rhythmic Improvisation (Syncopated Subdivisions 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.
Melodic Improvisation (Embellishing Tones): Improvise a melody over the following progressions, incorporating passing tones, neighbor tones, appoggiaturas, and escape tones.
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: Continued practice with melodies incorporating skips in ii and IV. Focus on melodies that also incorporate compound subdivisions.
Rhythm Sight-Reading: Rhythms that incorporate other dotted 8th note patterns and syncopation in compound time. See the section "Other Dotted 8ths."
Aural ID and Dictation
Aural ID and Dictation
Continued practice with IV and ii chords as predominant harmonies:
Aural Anthology: This page includes examples for transcription. See the section "Transcription: I, IV, V in root position" and "I, IV, V (with inversions)." Transcribe the melody, bass, and Roman numerals.
Theory Anthology (Predominants): 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 |
Theory Anthology (Embellishing Tones): Examples that incorporate passing tones, neighbor tones, and appoggiaturas. Use these examples for quick ID practice to identify different embellishing tones by type for transcription practice.
Practice
Practice
Auralia:
Rhythm Dictation: Level 7d
Rhythm Element Dictation: Levels 4d–g
Two-Part Rhythm Dictation: Levels 9a–9b
Musition:
Rhythm Tapping: Level 6c
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