The document discusses a method called the "Do-Ti Test" for analyzing harmonic progressions in music. It is intended to supplement existing methods rather than replace them. The Do-Ti Test assumes use of movable-Do solfège and trains students to actively listen for whether chords are based on Do or Ti scale degrees. Examples are provided of how the Do-Ti Test can help students notate and understand harmonic sequences and modulations in works by composers like Beethoven, Mozart, Chopin, and Haydn. Benefits of the Do-Ti Test include triangulating information from other methods, providing a clear model for thinking and hearing harmony, and promoting active listening.

1. How to Understand a Harmonic Progression in Fewer than Hearings: Extending and Implementing the Guide-Tone Method Using the “Do-Ti Test”

2. Methodological Assumptions Multiple modes of hearing produce a convergence of evidence Productive methods interact with one another Do-Ti Test is not a replacement but rather a supplement to existing methods Do-Ti Test is designed primarily for first-year students Do-Ti Test assumes the use of moveable-Do

3. Integrated Model of Harmonic Dictation Techniques

4. How students see the face:

5. Beethoven Piano Sonata Op. 13, mvt. 2, Adagio cantabile, mm. 9–11 What students hear: What (some) students notate:

6. Beethoven Piano Sonata Op. 13, mvt. 2, Adagio cantabile, mm. 9–11 What students hear: What students often notate:

7. How might students pull the pieces together?

8. How might students pull the pieces together?

10. Active vs. Passive Focus Active focus refers to the listening techniques that one actively sustains in the inner ear. counting beats Do-Ti Test Passive focus refers to the disengaged awareness of what one is hearing. noticing the durations that occur within each beat noticing whether chords are Do- or Ti-chords

13. Haydn Cello Concerto in 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 Chords Major Keys: Minor Keys:

20. Major-Key Secondary Dominants Prerequisite skills: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-Tone Chords Prerequisite 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 in Eb Major, Op. 9 no. 2, mm. 1–4

24. Modulations to Closely-Related Keys

25. Enharmonic Modulations “Abandon hope all ye who enter here…”

26. Haydn String Quartet, Op. 76 no. 6, mvt. 2, Fantasia (Adagio), mm. 31-39

31. Benefits of the Do-Ti Test “Triangulates” other methods A clear, practical model for thinking and hearing Critical distinctions placed at the beginning of the hearing process Trains the ear to listen horizontally Promotes active listening