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How to Understand a Harmonic Progression in Fewer than 10 Hearings: Extending and Implementing the Guide-tone Method using the "Do-Ti Test"
The document discusses the implementation of the 'do-ti test' as a supplementary method for teaching harmonic progression to first-year music students. It emphasizes various listening techniques, including active and passive focus, and outlines prerequisite skills necessary for recognizing chords in different musical contexts. Additionally, it highlights the benefits of the do-ti test in enhancing ear training and promoting active listening through practical application.
How to Understand a Harmonic Progression in Fewer than 10 Hearings: Extending and Implementing the Guide-tone Method using the "Do-Ti Test"
- 1. How to Understanda Harmonic Progression in Fewer than Hearings:Extending and Implementing the Guide-Tone Method Using the “Do-Ti Test”
- 2. Methodological AssumptionsMultiple modesof hearing produce a convergence of evidenceProductive methods interact with one anotherDo-Ti Test is not a replacement but rather a supplement to existing methodsDo-Ti Test is designed primarily for first-year studentsDo-Ti Test assumes the use of moveable-Do
- 3. Integrated Model ofHarmonic Dictation Techniques
- 4. How students seethe face:
- 5. Beethoven Piano SonataOp. 13, mvt. 2, Adagio cantabile, mm. 9–11What students hear:What (some) students notate:
- 6. Beethoven Piano SonataOp. 13, mvt. 2, Adagio cantabile, mm. 9–11What students hear:What students often notate:
- 7. How might studentspull the pieces together?
- 8. How might studentspull the pieces together?
- 10. Active vs. PassiveFocusActive focus refers to the listening techniques that one actively sustains in the inner ear.counting beatsDo-Ti TestPassive focus refers to the disengaged awareness of what one is hearing.noticing the durations that occur within each beatnoticing whether chords are Do- or Ti-chords
- 13. Haydn Cello Concertoin C Major, mvt. 3, Allegro molto, mm. 201–205
- 16. Mozart Symphony No.36 in C Major, K. 545, mvt. 1, Adagio - Allegro spiritoso,mm. 95–101
- 19. Diatonic Seventh ChordsMajorKeys:Minor Keys:
- 20. Major-Key Secondary DominantsPrerequisiteskills:1. Ability to hear the presence of an applied leading tone2. Ability to hear the quality/function of the applied chord (D7, not LT7)
- 21. Minor-Key Secondary Leading-ToneChordsPrerequisite skills:1. Ability to hear the presence of an applied leading tone2. Ability to hear the quality/function of the applied chord (LT7, not D7)Helpful to remember:1. Only three aurally distinguishable fully-dim. sevenths2. Thus, final analysis depends upon real (or expected) resolution3. Provisional analysis is encouraged, such that: a) any o7 chord with Ti is assumed to be a diatonic viio7b) any secondary o7 chord with Do is assumed to be a viio7/V.
- 22. Chopin Nocturne inEb Major, Op. 9 no. 2, mm. 1–4
- 24.
- 25. Enharmonic Modulations“Abandon hopeall ye who enter here…”
- 26. Haydn String Quartet,Op. 76 no. 6, mvt. 2, Fantasia (Adagio), mm. 31-39
- 28. Do-Ti PatternsHarmonic idiomsas Do-Ti building blocksSequences and their Do-Ti patterns Do-Ti building blocks in conjunction with metric structureDo–Ti–Do (on strong beat) usually Tonic expanding
- 29. Ti–Do–Ti (onstrong beat) usually Dominant expandingBeethoven Symphony No. 5, Op. 67, mvt. 4, Allegro, mm. 1–26Level:
- 31. Benefits of theDo-Ti Test“Triangulates” other methodsA clear, practical model for thinking and hearingCritical distinctions placed at the beginning of the hearing processTrains the ear to listen horizontallyPromotes active listening
Editor's Notes
- #32 .