T231Course Packet Fall2020pdf

T231
Course
Packet
Fall 2020
Table of Contents
Introductory Materials
MUS T231 Introductory Materials ......................................................................................... 1
Dictation Strategies ................................................................................................................... 2
The Fixed-Do Solfège System ................................................................................................. 4
Takadimi ..................................................................................................................................... 5
Performing Tuplets ................................................................................................................... 7
Sight-Singing Chord Progressions ......................................................................................... 8
Unit I Three-Chord Progressions ........................................................................................... 9
Unit II Three-Chord Progressions ......................................................................................... 10
Unit III Three-Chord Progressions ........................................................................................ 11
Sonorities ..................................................................................................................................... 12
Unit I Materials
Pitch Patterns ............................................................................................................................. 14
Melodic Fragments .................................................................................................................... 16
Melodic Dictation Part I........................................................................................................... 18
Two-Part Dictation ................................................................................................................... 22
Harmonic Dictation .................................................................................................................. 26
Rhythmic Dictation ................................................................................................................... 30
Unit II Materials
T231 Unit 2 Menu ..................................................................................................................... 33
Unit 2 Warm-ups ....................................................................................................................... 34
Melodic Dictation ...................................................................................................................... 35
Unit III Materials

T231 Unit 3 Menu ..................................................................................................................... 50
New Sonority Drill: Name That Predominant! .................................................................... 51
Unit IV Materials
Extra Staff Paper ..................................................................................................................................... 84-93

Introductory
Materials
DICTATION STRATEGIES
Plan for the whole dictation
Listening vs. writing
Listening
Writing
Work Backwards
Let the melody help you

Leave nothing blank
Use theory logic
Ask
SPECIALIZED DICTATION TIPS

Pitch Pattern
Rhythm
Two-part
Harmon
The Fixed-Do Solfège System
Standard Syllables
& w w w w
w w w w
# #w #w w
& w w w w w
# w nw nw w
& w w w w
Takadimi
Takadimi is a solfège system used for reading and performing rhythms. It is based on
hierarchical divisions of the beat, which change depending on the time signature [and tempo].
The “beat” is the tactus - the pulse that you will conduct. In both simple and compound
meters, the beat will always be “ta.”
2 6
4 œ œ 8 œ™ œ™
ta ta ta ta
Since simple and compound meters divide the beat differently, the syllables will also be
different. N.B.: the syllables are determined by where a note falls within the beat, not by
a note’s duration:
Simple Compound
w
ta
˙ ˙ ˙™
ta ta ta
œ œ œ œ œ™ œ™
ta ta ta ta ta ta
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ta - di ta - di ta - di ta - di ta - ki - da ta - ki - da
œœœœ œœœœ œœœœ œœœœ œœœœœœ œœœœœœ

ta-ka-di-mi ta-ka-di-mi ta-ka-di-mi ta-ka-di-mi ta-va-ki-di-da-ma ta-va-ki-di-da-ma
5
Depending on the tempo and time signature, the rhythmic value of the beat may change.
The Takadimi syllables will always divide and subdivide whatever the beat is. For example:
4 ˙ ˙ ˙ ˙ 6 ˙™ ˙™
2 œœœœ
4 œœœœœœ
ta-ka-di-mi ta-va-ki-di-da-ma
3 ˙ ˙ ˙ 9 ˙™ ˙™ ˙™
2 4
œœœœ œœœœœœ
4 j j j j 12 j j j j
8 œ œ œ œ
16 œ™ œ™ œ™ œ™
œœœœ œœœœœœ
In both simple and compound meters, For tuplets that divide the beat into 5 or 7,
“di” always divides the beat in half. add the syllable “ti” to the end of the familiar
This is useful for seamlessly switching set of syllables for 4 and 6.
between duple and triple divisions of the beat.
œ œ œœœœ œœœœœ
Simple ta-ka-di-mi ta-ka-di-mi-ti
œœœœ
ta - ka - di - mi 7
œœœœœœ
ta-va-ki-di-da-ma œœœœœœ œœœœœœœ
œ™ œ™
ta-va-ki-di-da-ma ta-va-ki-di-da-ma-ti
Compound
6
Performing Tuplets
A tuplet divides a beat or some other unit of time (multiple beats, half of a beat, a measure, etc.) in
a way that is foreign to the current time signature.
2 œ œ 6 œ™ œ™
4 œ œ œœœ 8 œœœ œ œ
3 2
2
In a simple meter a beat is divided into two; in 4 the quarter note gets the beat and it is divided into
two eighth notes. The triplet is notated as a series of eighth notes accompanied by the number 3, which
6
means that it divides the quarter note, but into three instead of two. The reverse is true in the case
of a duplet in compound meter, as seen in the example of 8 .
For more difficult tuplets, like quarter-note triplets or divisions into 5 or 7, subdividing will
greatly increase your potential for accuracy, and help ensure that your timing is consistent.
˙ œ œ
œ œ œ œ
œ œ
2 2
4 3
œœœ œœœ
3
4 œœœœœ œœœœœ
5 5
œ œ œ œœœœ œ œ œ œœœ
3
NOT NOR
3 3
Each note of the quarter-note triplet No part of the quintuplet actually lands on the offbeat;
has the duration of two triplet rather the offbeat is exactly in-between the third and fourth
eighth notes. Subdividing the beat notes of the quintuplet seen above. For all odd-number
into triplets will make it much easier to divisions, the offbeat will always be in-between two of
find where to place each note the tuplet’s notes. (5÷2=2.5, but the offbeat does not land
of the quarter-note triplet. between the second and third sixteenths; it arrives after
2.5 quintuplet sixteenths have passed.) Try to make sure
that all of your notes are evenly spaced and that
you aren’t accidentally creating groups of 2s and 3s. If your
third or fourth note lands on the beat you are dragging or
rushing, respectively; the offbeat should be exactly between.
7
Sight-Singing Chord Progressions
UNIT 1
Major Minor Major Minor
I 13531 i V 57275 V
I6 35153 i 6
vi 61316 VI
ii 24642 - (Diminished triads rarely V7 5724275 V7
ii6 46264 iio6 appear in root position) V 65 7245427 V 65
iii 35753 III V 43 2457542 V 43
IV 46164 iv V 42 4572754 V 42
IV6 61416 iv 6 V 64 51315 V 64
viio6 24742 viio6
(Don’t forget 7 is raised
for V and viio in minor!)
UNIT 2
All of UNIT 1 plus:
Major Minor
ii7 2461642 iiø7
7
IV 4613164 iv 7
o7
vii 724 6427 viio7 7246427
{
6 - (Diminished triads can’t be tonicized)
V 5/ii 135653 1
{
6
V 5/iii 2 4676 4 2 V 65/III 2467642
All inversions 6 6
may be used V 5/IV 35 71 753 All inversions V 5/iv 357175 3
6 6
V 5/V 461216 4 may be used V 5/V 461216 4
6 6
V 5/vi 572327 5 V 5/VI 5 7 23 275
UNIT 3
All of UNITS 1 and 2 plus:
Major Minor
ii 65 4612164 iiø 65
4
ii 2 1246421 iiø 42
o7
vii /ii 135 753 1 -
o7
vii /iii 2 4616 4 2 viio7/III 246 1642
o7
vii /IV 35 7 2 753 viio7/iv 357 275 3
o7
vii /V 461 316 4 viio7/V 461316 4
o7
vii /vi 572427 5 viio7/VI 57 2 4 275
8
{ { {
Unit 1 Three-Chord Progressions
œœ œœ œ œœ œœ œ œœ œœ œ
Voice
& œ œ œœ & œ œ œœ & œ œ œ
X X
? œ œ œ ? œ œ œ ? œ œ œ
exchange
(X)
{ { {
*Passing 64 :
I * P 64 I6 a V 64 that serves I viio6 I6 I V 42 I6
œœ œœ* œœ
as a passing chord
œ œœ œ œœ œœ œ
& œÓœ
between tonic chords
œ œ & œ œ œœ & œ œ œ
œ
Parallel
? œ œ ? œ œ œ
10ths
? œ œ œ
{ { {
8 7 *This is one of the only
I V 7 vi V 64 5
3 I cases where the chordal 7th
I V 43 I6
œœ œœ
does not resolve downwards
œœ œœ œœœ œœœ œ œœœ œœœ

Parallel & œ œ œ & œ & œœ
? œ ? œ ? œ
10ths
“the long
way”
œ œ œ œ œ œ
{
I IV 6 I6 I vi IV I vi ii 6
œœ œœ œœœ
& œ
? œ œ œ
I IV 6 V I IV V 7 I ii 6 V 7
{ { { {
(Only allowed when 7^
Example Resolutions of Dominant-Seventh Chords
w w w w
is in an inner voice)
w w
w w & w w & w w w w & w ww
^ ^
7 5
& w w
w ww w
w w w w w w w
4^ 3^ 4^ 3^
? w ? w w ? w w w w ? w w
w
7^ 1^
V7 I V 65 I 9
V 43 I6 V 43 I V 42 I6
Unit 1 Three-Chord Progressions
Voice
exchange X X
(X)
i * P 64 i 6 i viio6 i 6 i V 42 i6
Parallel
10ths
8 7
i V 7 VI V 64 5
3 i i V 43 i6
Parallel
10ths
“the long
way”
i iv6 i6 i VI iv i VI ii 6
i iv6 V i iv V 7 i ii 6 V 7
{ { {
& œœœ œœœ œœœ & œœœ #œœœ œœœ & œœœ bœœ œœ
œ œ
? œ #œ œ ? œ #œ œ ? œ œ œ
{ { {
œœ œœ œœ œ œ œœ
& œœœ œœœ œœœ & œ œ œ & œœ œœ œ
œ œ œ ? œ #œ œ
? #œ œ ? #œ
{ { {
& œÓœ œœ œœ & œÓœ œœ œœ &œÓœ #œœ œœ
œ œ œ #œ œ œ œ
œ œ œ œ œ
? bœ œ ? ? œ œ
{
œœ œ œ
& œ œœ œœ
? œ œ œ
i V65/VII VII i V65/III III i V65/iv iv
i V65/V V i V65/VI VI V V65/VI VI
œœœ
œ
i V42/iv iv6 i V42/V V6 i iiø7 V 7

i i i /VII VII i /III III
i /iv iv i /V V i /VI VI
V /VI VI i iv iv i iiø42 V 6
i iiø65 V
Sonorities
The following is a list of all the sonorities that will be covered in T231, along with the unit in which
they will be introduced. Refer to the “menu” at the beginning of each unit for examples of how
these chords may be spelled and voiced. Sonorities will be cumulative - once introduced, expect to
continue to hear the sonority throughout the remainder of the semester.
TRIADS
Quality Inversions Unit Covered In
Major 5 6 6 Unit 1
3 3 4
Minor 5 6 6 Unit 1
3 3 4
Diminished 6 Unit 1
3
Augmented n/a Unit 1
SEVENTH CHORDS
Quality Inversions Unit Covered In Function
Major-Minor 7th 7 6 4 4 Unit 1 Dominant
5 3 2
Diminished 7th 7 Unit 2 Dominant
Minor-Minor 7th 7 6
5
4
2 ( )
Unit 2 (7), Unit 3 6 4
5 2 Predominant
Half-diminished 7th 7 6
5
4
2 Unit 2 (7), Unit 3 ( 6
5 2)
4 Predominant
Major-Major 7th 7 Unit 2 Predominant
12
Unit 1: Pitch Patterns
Six pitches
Seven pitches
Longer patterns
Unit 1: Pitch Patterns Answers
Six pitches
Seven pitches
Longer patterns
Unit 1: Melodic Fragments
Unit 1: Melodic Fragments Answers
Unit 1: Melodic Dictation Part 1
10
18
Unit 1: Melodic Ditcation Part 1 Answers
10
19
11
12
13
14
15
20
Unit 1: Melodic Ditcation Part 2 Answers
11
12
13
14
15
21
Unit 1: Two-Part Dictation Part 1
22
Unit 1: Two-Part Dictation Part 1 Answers
23
10
24
10
25
Unit 1: Harmonic Dictation Part 1
Unit 1: Harmonic Dictation Part 1 Answers
1 2
C: I P64 I 6 IV V 64 5
3 I B:I V 42 I6 IV V8 7
vi
(Passing 64 )
3 4
A: I V 65 I I6 ii6 V I f: i viio6 i 6 iio6 V 64 7

3 i
5 6
8 7
A:I V 6 vi IV V 64 5
3 I d: i iv i V 65 i iio6 V
7 8
E: I I 6 IV V vi ii6 V g: i VI iv V 7 VI iv 6 V
9 10
e: i 53 6
4
5
3 iio6 V V 65 i b: i V 42 i 6 V 65 i 53 6
4
5
3
(Pedal 64 )
27
11 12
D:I V 65 I IV6 V 7 I V g: i V 43 i 6 VI iio6 V i
13 14
a: i III VI iv V8 7
VI B: I vi
vi iv ii V8 7
I
15 16
e: i V 42 i 6 V 43 i iio6 V c: i 53 6
4
5
3 III VI iv V
17 18
F: I I6 IV V 7 vi V 65 I f :i V 65 i i6 iv V i
19 20
D: I IV6 I 6 IV ii V7 I f: i V V 42 i6 iv iio6 V
29
Unit 1: Rhythmic Dictation
10
30
Unit 1: Rhythmic Dictation Answers
T231 Unit 2 Menu
Chromatic Inflections for Singing with Scale Degrees
When ascending, add a “sh” sound to raised scale degrees (“sharp”):

“one” “shun” “two” “shoe” “three” “four” “shore” “five” “shive” “six” “shix” “sev” “one”
When descending, add a “fl” sound to lowered scale degrees (“flat”):

“one” “sev” “flev” “six” “flix” “five” “flive” “four” “three” “flee” “two” “floo” “one”
Differences in Minor Keys

The diatonic third degree in minor is sung as “three,” while raised-three is “shee.”
Both the lowered and raised scale degrees “six” and “sev” are sung with the same number.
“one” “two” “three” “shee” “four” “five” “six” “six” “sev” “sev” “one”
Major-Key Secondary Dominants “shoe”

&
“shore” “flev” “shun” “shive” “shore”
C: V 65/V V V 65/IV IV V 65/ii ii V 65/vi vi V 65/iii iii
Minor-Key Secondary Dominants

“shore” “shee” “floo”
c: V 65/V V V 65/iv iv V 65/III III V 65/VI VI V 65/VII VII
New Types of Sonorities

mm7 MM7 ø7 o7
C: ii7 V IV 7 V c: iioø7 V7 viio7 i
33
10
35
Unit 2: Melodic Dication Part 1 Answers
Unit 2: Melodic Dication Part 2
Unit 2: Melodic Dictation Part 2 Answers
11
12
13
14
38
39
40
10
41
10
42
1 2
E : I V 65 IV V 65 V V 65 vi IV 7 V G: I V 43 vi V 43 IV V 65 V 64 5
3 I
3 4
B : I V 42 IV V 43 V V 65 vi V 65 I c: i V 43 V V 65 i V 42 iv 6 V 43 V 64 5
3 i
5 6
8 7
D: I V 65 IV V 43 ii V 42 V 6 V 7 vi c : i V 65 VI V 43 iv V 65 V 64 5
3 i
9 10
8 7
G: I V 6 vi V 43 IV V 42 I 6 V 43 I d: i V 65 i V 43 VI V 65 V 64 5
3 i
44
9 10
A: I V 65 ii V 65 V V 42 I 6 V 65 V c: i V 65 III V 65 iv V 65 i iv 6 V
11 12
A : I 53 6
4
5
3 V 7 IV V 65 V V 65 vi e: i V 42 i 6 V 43 i V 42 iv 6 V 65 V
13 14
8 7
D: I V 65 iii V 65 V V 65 vi V 65 I g: i V 65 VI V 43 iv V 65 V 64 5
3 i
15 16
8 7
G: I V 65 V V 65 I V 43 6
IV V 7
I f: i V 42 i 6 V 65 iv iio6 V 64 5
3 VI
46
10
48
T231 Unit 3 Menu
Major-Key Arpeggiation Warm-up
Minor-Key Arpeggiation Warm-up
Major-Key Secondary Diminished-Seventh Chords

“shore” “flev” “shun” “shoe”
& & & &
“flee” “floo” “flev” “shive” “shore”
C: viio7/V V viio7/IV IV viio7/ii ii viio7/vi vi viio7/iii iii
Minor-Key Secondary Diminished-Seventh Chords

“shee” “floo”
& &
“shore” “floo” “flun” “floor” “flive”
c: viio7/V V viio7/iv iv viio7/III III viio7/VI VI viio7/VII VII
New Sonorities
mm65 mm42
C: ii65 V ii42 V 65
ø6 ø4
5 2
c: iiø65 V iiø42 V 65
50
New Sonority Drill:
Name that Predominant!
Bass scale degrees: 1^ - 4^ - 5^ - 1^ 1^ - 2^ - 5^ - 1^ 1^ - 1^ - 7^ - 1^
IV iv
Possible ii6 iio 6 ii
predominant chords: iiø 7 ii42 iiø 42
ii65 iiø 65 ii7
IV7 iv7
You will hear a four-chord progression;

write down the bass scale degrees and
provide a Roman numeral analysis.
Major: I ____ V(7) I or I ____ V(5)6 I
Minor: i ____ V (7) i or i ____ V (5)6 i
51
7
3
3
10
53
11
12
13
14
54
11
12
13
14
55
56
57
10
58
10
59
F: I V 42 IV 6 V 43 V V 42 I6 viio7 V
c: i viio7 iv iiø7 V 64 5
3 VI V 65 V i
D: I ii 42 V6 V7 viio7 vi ii 65 V7 I
F: I V 43 I6 IV V viio7 vi V 42 ii6 V 65 V 64 5
3 I
10
f: i V 43 VI V 43 iv V 42 i6 V 65 iv V
63
11
8 7
B:I viio7 I V 65 ii viio7 V 64 5
3 viio7 vi
12
f :i VI iv iiø7 V 43 i iiø 42 V 65 i
13
C: I I6 V 65 vi ii 65 V V 42 V 65 IV V viio7 vi
14
g: i V 65 III iio6 V7 VI viio7 V
15
D:I V7 vi V7 I V 42 IV6 V 65 I IV7 V

65
3 3 5 5 3
2
3 5
3
3
3 6
3
5
5
4
3 3
6
5
6
3 6
3
7
3
67
New key:
New key:
New key:
New key:
New key:
69
New key: V
New key: vi
New key: IV
New key: III
New key: VI
70
New key:
New key:
New key:
New key:
10
New key:
71
New key: V
New key: III
New key: vi
New key: vi
10
New key: iv
72
11
New key:
12
New key:
13
New key:
14
New key:
15
New key:
73
11
New key: ii
3 3
12
3 3
New key: III
13
New key: V
14
New key: VI
15
New key: IV
74
Unit 4: Two-Part Dictation
75
Unit 4: Two-Part Dictation Answers
76
1 2
3 4
5 6
77
7 8
9 10
11 12
79
7 8
A : I 6 V 43 I IV ii6 b: i iiø 42 V 65 i V 65 iv
f: iv 6 V V 42 i 6 iv iio6 V 7 i G: vi ii7 V 7 I
9 10
5
D : I V 43 vi V 43 IV V 43 ii A: I 53 6
4 3 vi
8 7
G : vi V 6 I IV7 V 64 53 I E: ii V 65 I ii 65 V I
11 12
g: i viio6 i 6 VI G: I ii 42 V 65 I V 65 ii
8 7
c: III VI iv V 64 5
3 i e: iv viio7 V i
80
81
4
2
4 4 5

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T231

Unit III Materials

Extra Staff Paper ..................................................................................................................................... 84-93

Plan for the whole dictation

Listening vs. writing

Let the melody help you

Use theory logic

SPECIALIZED DICTATION TIPS

œœœœ œœœœ œœœœ œœœœ œœœœœœ œœœœœœ

œœ œœ œœœ œœœ œ œœœ œœœ

i V65/V V i V65/VI VI V V65/VI VI

i V42/iv iv6 i V42/V V6 i iiø7 V 7

Major-Major 7th 7 Unit 2 Predominant

A: I V 65 I I6 ii6 V I f: i viio6 i 6 iio6 V 64 7

D:I V 65 I IV6 V 7 I V g: i V 43 i 6 VI iio6 V i

When ascending, add a “sh” sound to raised scale degrees (“sharp”):

When descending, add a “fl” sound to lowered scale degrees (“flat”):

Differences in Minor Keys

Major-Key Secondary Dominants “shoe”

C: V 65/V V V 65/IV IV V 65/ii ii V 65/vi vi V 65/iii iii

Minor-Key Secondary Dominants

c: V 65/V V V 65/iv iv V 65/III III V 65/VI VI V 65/VII VII

New Types of Sonorities

C: ii7 V IV 7 V c: iioø7 V7 viio7 i

Minor-Key Arpeggiation Warm-up

Major-Key Secondary Diminished-Seventh Chords

C: viio7/V V viio7/IV IV viio7/ii ii viio7/vi vi viio7/iii iii

Minor-Key Secondary Diminished-Seventh Chords

c: viio7/V V viio7/iv iv viio7/III III viio7/VI VI viio7/VII VII

You will hear a four-chord progression;

Major: I ____ V(7) I or I ____ V(5)6 I

Minor: i ____ V (7) i or i ____ V (5)6 i

g: i V 65 III iio6 V7 VI viio7 V

D:I V7 vi V7 I V 42 IV6 V 65 I IV7 V

New key: III

New key: III

New key: III

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Major: I V(7) I or I V(5)6 I

Minor: i V (7) i or i V (5)6 i