Embedded Files
Objectives
Objectives
By the end of this lesson, students will be able to:
Sight read, improvise, and transcribe rhythms that incorporate 2:3 polyrhythms.
Sight sing and improvise melodies that incorporate skips in V/V and V7/V chords over a given chord progression in major or minor.
Transcribe chord progressions and melodies in examples from the repertoire that include secondary dominants of V in major and minor.
Preparation for Class
Preparation for Class
Read:
Read:
The following readings are from Foundations of Aural Skills (Timothy Chenette)
Watch
Watch
Hearing V/V & V7/V in "Don't Cry for Me Argentina"
Cynthia Gonzales (3 mins.)
Songs that Use Polyrhythm & Polymeter
David Bennett (13 mins.)
Explore
Explore
3:2 Polyrhythms: Try singing along with both the 2 and 3 in this visual polyrhythm metronome.
Hearing V7/V: Practice building chord progressions in Chord Player that use secondary dominants. Sing the bassline and arpeggiate the chords while you listen, then sing along with an improvised melody to get the sound of these chords in your ears. Here's a looped progression to start with: I - vi - V/V - V (in A major: A - F#m - B - E).
In-Class Activities
In-Class Activities
Improvisation
Improvisation
Rhythmic Improvisation (Hemiola): Select a time signature (2/4, 3/4, or 4/4), then improvise rhythms using the grid below, being sure to include the triplet divisions to create 2:3 polyrhythms with your backing track. 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 (V7/V): Compose a progression that incorporates a V7/V chord. 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!
Sight Reading & Singing
Sight Reading & Singing
Melodic Sight-Reading: Sight-read melodies in the section "Applied Chords of V."
Sing along with the "Secondary Dominant Sing-Along" by David Newman to internalize the sounds of secondary dominants. Lyrics are provided on the website.
Rhythm Sight-Reading (Polyrhythm): Sight-read two-part rhythms in the section "Two against Three." Perform the rhythms with a partner or sing one part while you clap the other. These rhythms include triplet divisions across one and two beats.
Warm up by practicing hemiola as a group. Use the 3:2 visual metronome (in the "Watch" section above) as a guide. Have one half of the class clap or sing the 2's, while the other half sings the 3's, then switch. Try clapping one while singing the other.
Rhythm Sight-Reading (Triplets): Sight-read rhythms in all sections. These are melodies that incorporate triplets over one or two beats that can be performed against a steady backing track to practice feeling 2:3.
Aural ID and Dictation
Aural ID and Dictation
Aural Anthology: Listen for examples of secondary dominants of V in popular music. See the section "Secondary Dominant ID" in the anthology. The songs at the top of the spreadsheet only include examples with V/V and V7/V. Identify where in the phrase you hear a secondary dominant, by specifying the measure number or the lyrics where the chord falls.
Instructor Note: The instructor anthology provides harmonic solutions for all of the examples in this section.
Theory Anthology: Listen to examples in the section "V/V, V7/V." Transcribe the melody, chords, and Roman numerals for each example. Indicate harmonic function below the Roman numerals (e.g. T, PD, D).
Practice
Practice
Auralia:
Advanced Part Dictation: Levels 2a, 2b
Advanced Progressions: Level 1
Chord Recognition: Level 9a
Melodic Dictation: Level 10a, 10b
Pop Chord Progressions: Level 10a
Rhythmic Dictation: Level 11
Musition:
Rhythm Tapping: Levels 9a, 9b
Polyrhythms: Levels 1–2
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