Once you feel comfortable with the tonic triad, sing the dominant triad: *“Sol-ti-re.”In G major, for example, the tones will be D, F-sharp, and A. Remember these – they will be important to you when you have to do this quickly. in G major do-mi-sol will be G, B, and D. On scratch paper, write down which tones correspond to the solfege syllables, i.e.Sing up and down the tonic triad: “Do-mi-sol-mi-do.”.Sing up and down the scale of that key, using solfege.We can often predict what’s going to happen in a melody before we even hear it.įirst steps in practicing melodic dictation: Listen hard for things that seem the same. In both period structure and sentence structure – concepts we will study in depth both in this class and in Theory III – basic melodic ideas are often repeated, sometimes in fragments. Commit the solfege of the dominant triad and dominant seventh chord to memory, because they will be used a lot in this class. A variant of this chord is, of course, V7: sol-ti-re-fa. They will very likely outline tones from the dominant (V) triad, sol-ti-re, too.Why? Because this is how a melody establishes a key and implies a cadence. You will usually find tones from the tonic triad at the end of the dictation too. They will contain tones from the tonic (I) triad, that is, do, mi, and/or sol, at the beginning of the phrase.Things all the melodic dictations this week will do: If you know what to expect, you can make educated guesses even if you aren’t sure of the answer. Remember that the examples we will study in this class are both repetitive and predictable. Melodic dictation can seem daunting at first, but it’s not as hard as it looks. Ear Training - Introduction to Melodic Dictation Introduction to Melodic Dictation
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