Embedded Files
Objectives
Objectives
By the end of this lesson, students will be able to:
Sight sing and improvise melodies that modulate to the dominant or relative major or minor.
Demonstrate further proficiency in sight reading, improvising, and transcribing rhythms that incorporate 2:3 polyrhythms.
Transcribe chord progressions and melodies in examples from the repertoire that include a modulation to the dominant or the relative major or minor.
Preparation for Class
Preparation for Class
Read:
Read:
Performing Modulation and Listening for Modulation (from Timothy Chenette, Foundations of Aural Skills)
Pivots in Melodic Dictations (from Miranda Wilson, Integrated Musicianship: Aural Skills)
Study Aids
Study Aids
Diatonic Common Chord Modulation Handout
Source: Toby Rush (Music Theory for Musicians and Normal People)
Closely-Related Keys
Closely-related keys are those within 1 sharp/flat of the original key. On the circle of 5ths, this is the relative major/minor and the major and minor key on the left and right on the circle.
In-Class Activities
In-Class Activities
Improvisation
Improvisation
Rhythmic Improvisation (Hemiola): Continued practice with 2:3 polyrhythms from Unit 6-1.
Melodic Improvisation (Modulation): Compose a progression that modulates to the dominant or relative major/minor using a diatonic pivot. Here's a sample progression that shows the pivot chord overlapping and a backing track for the progression. Discuss strategies as a class for arpeggiating and improvising over the progression. Start with just one chord tone for each chord, then slowly add in some embellishments.
Experiment with other progressions. Create a backing track using an online chord player like Chord Player, Musicca Chord Player, or ChordChord to fit your progression.
Sight Reading
Sight Reading
Melodic Sight-Reading:
Try the sight-singing exercises in Integrated Musicianship here. At the asterisk, change your solfege to the new key.
Sight-read melodies in the anthology section “Relative Major/Minor.”
Rhythm Sight-Reading (Polyrhythm): Continue practicing sight-reading two-part rhythms in the section “Two against Three.”
Rhythm Sight-Reading (Triplets): Continue practicing sight-reading rhythms in all sections with a backing track or beat to feel the 2:3 polyrhythm.
Aural ID and Dictation
Aural ID and Dictation
Before you begin, discuss strategies as a group for identifying where a modulation occurs and determining which key the passage modulates to.
Aural Anthology: Listen to song selections in the section “Modulation ID” that modulate to either the dominant or the relative major/minor. Identify where the modulation occurs (noting lyrics or time points in the recording) and to which key the passage modulates.
Instructor Note: The instructor anthology provides solutions for this spreadsheet to facilitate selecting listening examples that modulate to the dominant or relative key.
Theory Anthology: Listen to examples in the section “Pivot Chord Modulation (Closely-Related Keys)” that modulate to the dominant or relative major/minor. Begin by identifying to which key the passage modulates. Then, transcribe the melody, bassline, and Roman numerals. Indicate the pivot chord in your chord notation.
Practice
Practice
Auralia:
Modulation: Level 1
Rhythmic Dictation: Level 11
Musition:
Rhythm Tapping: Levels 9a, 9b
Polyrhythms: Levels 1–2
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