Each measure is a pattern. Alternate between Tonic and Dominant Patterns. Treble Solo
Example 2 Tonic Pattern
Tr. Solo 5 La Tr. Solo 9 sol La Dominant Pattern
ti
re
ti
La do La 6 La 10 mi
ti
do
Minor Tonal Patterns 2
Tonic Pattern La do 3 mi 7 do
Dominant Pattern re
ti
La mi Tonic Pattern do La 8 4
Tonic Pattern do mi Dominant Pattern mi 11 Dominant Pattern
ti
ti
re
mi
second class can be done in the “practice” mode and/or in the “evaluation mode”. All of the below activities should be done with the large group, small groups and individual students. This will aid and enhance audiation as well as assessment.
Please note: Throughout this article a movable “Do” with a La based minor is used. Therefore Do is the tonic in major and La is the tonic in minor.
Sequential objectives 1. Aural/Oral – Major. The teacher sings on “loo” the “ major tonality tune up” such as: Do re mi fa sol la sol mi Do ti Do, or performs a chord pattern such as I V7 I on a piano or guitar to outline the tonality (see example 3). Students echo/sing or play tonal patterns tonic and dominant (see example 1) (The pattern vocabulary at the aural/oral level will be probably be more patterns than at the symbolic level.) Be sure to instruct the students to take a preparatory breath before singing the answer. Research indicates that this aids audiation.
Copyright © 2013 J Perry Teacher Sings and/or Plays to outline major tonality Treble Solo
Example 3 G
loo Do
loo re
loo mi
loo fa
loo sol
C
loo la
G
loo sol
loo mi
loo Do
D7
loo ti
G
loo Do
2. Aural/Oral – Minor. The teacher sings on “loo” “minor tonality tune up” such as: La ti do re mi fa mi do La si La, or performs a chord pattern such as i V7 i on a piano or guitar to outline the tonality (see example 4). Students echo/sing or play minor tonal patterns step wise and tonic and dominant. (See example 2). (The pattern vocabulary at the Aural/Oral level should be more patterns than at the symbolic level.) Be sure to instruct the students to take a preparatory breath before singing the answer. Research indicates that this aids audiation.
Teacher Sings and/or Plays to outline minor tonality Treble Solo
Example 4 E
loo La
mi
loo ti
loo do
loo re
loo mi
Ami
loo fa
Emi
loo mi
loo do
loo LA
B7
loo si
E
loo LA
3. Aural/Oral Inference/Creativity/Improvisation – Major. The teacher sings on ‘loo’ the “ major tonality tune up” such as Do re mi fa sol la sol mi Do ti Do, or performs a chord pattern such as I V7 I, (example 3) on a piano or guitar to outline the tonality.
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ti
LA mi
Playing a “Simon says” game, the teacher sings or plays a pattern and the students play it back. Students take turns being “Simon”. (A variation of this exercise or game to be used at a more advanced stage would be for the teacher to play a “question “ pattern (on the Dominant) and individual students to “answer” on the tonic. The class or a small group can also answer together.) 4. Aural/Oral Inference/Creativity/Improvisation – Minor.
The teacher sings on loo “ minor tonality tune up” such as: La ti do re mi fa mi do La si La, or performs a chord pattern such as i V7 i (example 4) on a piano or guitar to outline the tonality. Singing on “bum” or playing on instruments. Playing a “Simon says” game, the teacher plays a pattern and the students play it back. Students take turns being “Simon”. (A variation of this exercise or game to be used at a more advanced stage would be for the teacher to play a “question” pattern (on the Dominant) and individual students to “answer” on the tonic. The class or a small group can also answer together. 5. Verbal Association – Major. At this level students echo/sing using solfeggio syllables and play major patterns. The teacher says: “We will now echo some major tonic patterns”. The teacher begins by singing in solfeggio the “ major tonality tune up” such as: Do mi sol mi Do ti Do, or performs a chord pattern such as I V7 I (example 3) on a piano or guitar to outline the tonality. Then Tonic, scale and Dominant patterns are echoed. Be sure to instruct the students to take a preparatory breath before singing the answer. Research indicates that this aids audiation. New patterns are introduced in subsequent weeks as new notes are learned. (See example 1) I have written the solfeggio syllables under the notes. This is for teacher reference only. Solfeggio syllables are not written for the student except to show
where “do” is. It is used verbally only. At this stage of the sequence notation for the student is not used. 6. Verbal Association – Minor – At this level students echo/ sing using solfeggio syllables and play minor tonal patterns. The teacher sings using solfeggio syllables a “minor tune up” such as la ti do re mi do la si la, or performs a chord pattern such as I V7 I (example 4) on a piano or guitar to outline the tonality. Tonic, scale and Dominant patterns are echoed. It is crucial at this level for the teacher to say:” We will now echo some minor tonal patterns “. In subsequent weeks, as new notes are introduced, patterns using these notes are echoed (See example 2). I have written the solfeggio syllables under the notes. This is for teacher reference only. The solfeggio syllables are not written for the student except to show where “do” is. It is used verbally only. In fact, this stage of the sequence notation for the student is not used. 7. Verbal Association – Major – Inference/Creativity/
Improvisation – the students are instructed that they will be improvising major patterns in this game. The teacher sings using solfeggio syllables “ major tonality tune up” such as: Do re mi fa sol la sol mi Do ti Do, (example 3) or performs a chord pattern such as I V7 I on a piano or guitar to outline the tonality. The teacher makes up a major tonic pattern by performing it on the recorder. Instruct the students to echo the pattern on “loo”. (Always indicate a “breathing pause” to aid in audiation). Instruct the students to sing the pattern using solfeggio. (Example # 1) Instruct the student to play the pattern on instruments. (If the student uses an incorrect verbal association, simply correct it, matter of fact like, in the echo). Now it is the student’s turn to be “Simon” and make up a pattern! By improvising patterns students are generalizing, using “critical thinking” in music! It also lets the teacher know if they are ready to read these patterns. A variation of this exercise or game would be for the teacher to play a “question” pattern (on the Dominant) and individual students to “answer” on the tonic. The class or a small group can also answer together.
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