harmonic dictation section i
DESCRIPTION
Harmonic dictationTRANSCRIPT
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LrsSON B I INTRODUCTION
The progressions you heard in the major mode in Lesson A are played in the minor mode in this Lesson. For V, you will need to place ~me accidental before the leading note, to raise 7 of the dia
tonic scale. The accidental will be a #in some keys and a ~ in others.
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L[SSON CI INTRODUCTION
This Lesson begins the focus on basic harmonic motion from tonic to dominant and back to tonic, in the major mode. Before the dominant, a preparatory chord is heard. In this program, the
abbreviation for this motion is T-P-D-T. From this point on, this large view of the harmony appears in the introductory examples to the Lessons in the gray area below the staff.
In this Lesson, the motion T-P-D-T is heard in the major mode in two forms: I-IV-V-I and I-ii6-V-I. In Lessons D and E you learn to hear the difference between the two forms in both the major and minor modes. As you play the illustrations in this Introduction, listen for the difference between IV and ii6. Although the bass note, 4, is the same for both chords,
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IV has a major sound and ii6 a minor sound. For further practice, sing one part in each illustration while playing the other three.
In some of these exercises the last note in the bass is an octave lower than the starting note.
On the Worksheet write the notes that you hear, identify the chords, and place T PDT correctly. You can do this in any order. The notes, chord identification, and chord function of the first chord are provided.
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L[SSON DI INTRODUCTION
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In this Lesson you study the same progressions as in Lesson C, but some are in the minor mode: i-iv-V-i and i-U06-V-i. You can tell from the given chord whether an exercise is in the major or the minor
mode. In the minor mode, U06 is a diminished triad in ~ position. Remember that V is a major triad and must be spelled accordingly.
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L[SSON [ I INTRODUCTION
In the standard repertory you hear dominant har use an appropriate accidental for the third of the mony most often as a V7 chord. Lesson E affords chord and I as the chord identification. This is the first you practice in distinguishing between V and V7. of many types of modal mixture that you will enExercises are in both major and minor modes. V7 is counter in this program.
the same chord in both modes. Since it is common practice in tonal music to omit the fifth of V7 and double the root, look for examples of that in the illus (.. Tip: Listen for the downward resolution of the trations. seventh in V7, from.4 to 3.
Exercises in the minor mode may end with a major tonic triad. When you hear that major triad, be sure to
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L[SSON f I INTRODUCTION
Up to this point you have heard only one chord expressing a harmonic function. In Lesson F you will study a way to hear two or more chords as a group. This begins the kind of listening that leads
away from hearing chords one at a time and moves you toward long-range hearing.
The exercises in this Lesson include five chords. No new chords are introduced, but the chords that you have already heard are used in larger combinations. Some of the progressions do not include a P chord.
Starting with this Lesson, tonic and dominant functions may include groups of two or three chords. The easiest way to extend T or 0 is to repeat the chord. In the simplest extension found in this Lesson the chord repetition occurs over an octave skip in the bass. The position of the upper three voices may change with the octave skip, but the notes of the chord remain the same. The beginnings of Examples I, 4, and 5 show this.
Another extension of tonic harmony uses IV as a neighbor chord. Example 2 ends with such an extension of tonic harmony, but this can occur at the beginning of a progression, as in Example 3. Since you have previously heard IV (and iv) as a preparatory chord, you can understand that the same chord can have a different function depending on the context. Find the neighbor notes in the upper voices of the IV chord and observe how the bass skips to support these voices. In these two illustrations IV (or iv) is not a dominant preparation but a neighbor chord elaborating 1.
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You will also find a simple elaboration of the bass line: an octave skip up or down, as at the end of Example 1. These notes should be scored in the same way that you score other pitches.
Dominant harmony may also be extended: In this Lesson two chords, V and V7, are heard as a group, as in Example 6.
On the Worksheet, show the extensions of harmonic function by draWing a straight line under the roman numerals that are grouped together, and place the function symbol underneath the first chord of the group, as in the illustrations below.
When scoring extensions of harmonic functions, mark x if the function symbol is not correctly placed beneath the first chord of the extension. In addition, the line that indicates a harmonic extension must appear under all the chords included in the extension. Mark x (1) if the line does not appear; (2) if it does not include all the chords in the extension; or (3) if it includes chords that are not in the extension. Also, mark x if you have drawn a line where there is no extension. Use the examples in the illustrations as your models.
..Tip: In the tonic extension of I-IV-I or i-iv-i, listen for two neighbor notes in the upper voices.
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