![]() ![]() Extremely affordable – booklist for your classes!.Based on Kodály pedagogy – fully adapted for the Australian secondary music classroom.Suitable for all music programs and class types.Teacher support and professional development.Sequential, developmental music literacy program from beginner to Year 12 and above.100s of engaging activities, lesson plans, videos, CDs/mp3 (audio) files.Student & teacher books, eBooks, online resources.Comprehensive music education resources for Years 7-12.All the planning & preparation is done for you!.The result is a fully developed, rounded musician.Home of the ONLY Secondary Music Education Resources you need! Click here for full 2023-2024 product list Why choose DSMusic? Aural Lessons, Theory, Harmony, ImprovisationĪt the end of this you have combined all of your skills, created improvisations, composed variations or chorale preludes. Again, aural lessons should involve singing all such features. Chords voiced in a low tessitura tend to be rich or dark, spaced out and they sound bright and resonant, in close harmony and they resemble a trumpet chorus or barbershop quartet. The spacing of the chords can also create a different ‘emotional’ feel. The use of 4-3, 7-6 and 9-8 suspensions pull the heart strings with tension and resolution, but it’s important that their resolutions aren’t simultaneously sounded in another part/hand of your improvisation. For instance, the use of a 7th chord with the 7th in the bass is extremely strong and the bass ‘wants’ to fall by step immediately. Aural Lessons: Chord VoicingĮxploring inversions is a crucial part of quality voicing and aural perception. Aural lessons should involve singing such modulations. Improvising your way through this progression also ensures that you have a good command of chords in a wide range of keys. The circle of fifths is a common tool used by composers in tonal harmony, so it’s important to have a clear aural concept of it. Simple patterns repeated as the bass moves through a pattern of fourths or fifths successively a step a part, leads either to diatonic sequences or, with chromatic alterations, to passing modulations, or, if you wish, as a journey to a new key. The Circle of Fifths integrates nicely into sequences and modulations. ![]() Ever looked for sequences in Away in a Manger or We Wish You a Merry Christmas in your aural lessons and then extended them to make them vocal/piano/organ exercises? The Circle of Fifths You will start to recognise these modulations by ear the more that you do this. Choose specific keys that you might explore such as the relative minor, supertonic minor, subdominant and its relative minor, or the dominant and its relative minor. It does not take much to convert this into a modulation. Take the melody and repeat it sequentially, a step higher or lower each time. By using specific foci you further engrain a concept in your mind and when it comes to identifying it by ear, you recognise it much more quickly. Have a specific focus that you use as a good 10 minute, or more, focus each day. You might extend this to include a particular focus such as the Neapolitan Sixth, German Sixth, French Sixth, Italian Sixth, diminished sevenths, half-diminished sevenths, diatonic sevenths, secondary dominants and so on. You might start with straight forward iib-V-I type harmonies. Use keyboard harmony skills to create an accompaniment for the melody. Aural lessons using familiar repertoire always work best. Examples might include lower auxiliary notes, trills, turns, nota cambiatas and so forth. Start by taking a simple melody, or a phrase of it, and embellishing it through the addition of ornaments. ![]() Aural Lessons: Melodic Decorations, Ornaments and Embellishments
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