Embedded Files
Objectives
Objectives
By the end of this lesson, students will be able to:
Sight read, improvise, and transcribe rhythms that incorporate ties and 16th note rests in compound time.
Sight sing and improvise melodies that incorporate chromatic embellishing tones with a leap.
Transcribe chord progressions and melodies in examples from the repertoire that incorporate V6 and V6/5 chords as part of tonic prolongation.
Listen to examples from the repertoire that incorporate V6 and V6/5 and aurally identify T, PD, and D areas in the context of the phrase model.
Preparation for Class
Preparation for Class
Read:
Read:
The following readings are from Foundations of Aural Skills (Timothy Chenette)
Study Aids
Study Aids
Figured Bass
Having trouble remembering the figured bass for the different inversions of V7? The numbers descend: 7, 6-5, 4-3, (4)-2. Check it out:
Root position (root in the bass): 7
1st Inversion (3rd in the bass): 6-5
2nd Inversion (5th in the bass): 4-3
3rd Inversion (7th in the bass): 4-2
Or, you can remember the Music Theory Hotline: (664) 765-4342.
The area code is the inversion numbers for triads in 1st inversion (6) and 2nd inversion respectively (6-4)
The next 7 numbers are the figured bass numbers for the 7th chords.
Tonic-Dominat Basslines and Corresponding Chords
Source: Sarah Louden
Chromatic Solfège Syllables
In-Class Activities
In-Class Activities
Improvisation
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.
Melodic Improvisation (Chromatic Embellishing Tones, V6, and V6/5): Improvise a melody over the following progression or compose your own progression using a V6 or V6/5 part of a tonic prolongation. Incorporate chromatic embellishing tones with a leap.
Chord Grid: i - V65 - i - iv - iiº6 - V - I
Chord Players: i - V65 - i - iv - iiº6 - V - i (in Em) or I - V65 - I- IV - ii6 - V - I (in EM)
Sight Reading
Sight Reading
Melodic Sight-Reading: Sight-read through the melodies in the section "Leaps/Skips to or from Chromatic Tones."
Before you begin, warm up with the chromatic scale. (See the "References" section above for visual aids.)
Rhythm Sight-Reading: Sight-read the rhythms in the section "Adding 16th Rests & Ties."
Aural ID and Dictation
Aural ID and Dictation
Aural Anthology: See the sections "Transcription: I & V (with inversions)" and "Transcription: I, V, V7 (with inversions)." Transcribe the melody, bass, and Roman numerals. Label chord functions and cadences by type.
Theory Anthology: See the section "Tonic Prolongation using V6 & Inversions of V7" for additional examples for dictation practice.
Practice
Practice
Auralia:
Chord Progressions: Levels 6a
Melodic Dictation: Level 3e
Part Dictation: Levels 4a–4b
Rhythm Dictation: Levels 7g, 7h
Rhythm Element Dictation: Levels 4h–i
Solfege ID: Levels 5b, 5c
Two-Part Melodic Dictation: Levels 7a–c
Two-Part Rhythm Dictation: Levels 9a–9b
Musition:
Rhythm Tapping: Level 6d–e
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