Materials for Musicianship Unit 2: The Tonic/Dominant Relationship

Performance Manual, Page 30

Section II: Keyboard Assignments

Section IIa: Keyboard Harmony

Keyboard Harmony Assignment #4.
Be able to play in keyboard texture the harmonic progression in any major
or minor key. For each specified key, you will play three versions in the following order:
1. beginning and ending with the root of the tonic chord in the soprano voice
2. beginning and ending with the third of the tonic chord in the soprano voice
3. beginning and ending with fifth of the tonic chord in the soprano voice
The example below illustrates the assignment in the keys of B-flat major and F minor:

In the examples above, pay particular attention to the voice leading. Since all of the
triads (regardless of the soprano starting pitches) are in root position, the bass motion for
every is do sol do. In each of the three right hand versions of
this progression, the upper three voices will complete one of three voice-leading motions:

do ti do
mi re mi or me re me
sol sol sol

Observing the distinctions between the major and minor progressions can lead to another
important observation. Since the dominant triad is usually major in a minor key, the
chord is the same in a major key and its parallel minor (F major and F minor, for
example). The progression in a major key will contain only one different pitch
from the same progression ( ) in a minor keythe third of the tonic triad. In the
above examples, changing the B-flat major progression to B-flat minor would involve
only the changing of the pitch D to D-flat and changing the F minor progression to F
major would involve only the changing of the pitch A-flat to A-natural.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 31

Keyboard Harmony Assignment #5.

Be able to play in keyboard texture the harmonic progression in any
major or minor key. For each specified key, you will play three versions in the following order:
1. beginning and ending with the root of the tonic chord in the soprano voice
2. beginning and ending with the third of the tonic chord in the soprano voice
3. beginning and ending with fifth of the tonic chord in the soprano voice
The example below illustrates the assignment in the keys of B-flat major and F minor:

In the examples above, pay particular attention to the voice leading. Since all of the
triads (regardless of the soprano starting pitches) are in root position, the bass motion for
every is do fa do. In each of the three right hand versions of
this progression, the upper three voices will complete one of three voice-leading motions:

do do do
mi fa mi or me fa me
sol la sol or sol le sol

Observing the distinctions between the major and minor progressions can lead to another
important observation. Both the tonic and subdominant triads are the same qualitymajor in a
major key and minor in a minor key. If one thinks of the fourth and sixth scale degrees in the
progression above as neighboring the third and fifth scale degrees, the progressions will always
combine a semi-tone neighbor tone and a whole-tone neighbor tone. In a major key, the neighbor
motion above the third scale degree is a semi-tone (mi-fa-mi) and the neighbor motion above the
fifth scale degree is a whole tone (sol-la-sol). In a minor key, the neighbor motion above the third
scale degree is a whole-tone (me-fa-me) and the neighbor motion above the fifth scale degree is a
semi-tone (sol-le-sol).
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 32

Keyboard Harmony Assignment #6.

Be able to play in keyboard texture the harmonic progressions

in any major or minor key. For each specified key, you will play three versions in the following
order:
1. beginning and ending with the tonic in the soprano voice
2. beginning and ending with the third scale degree in the soprano voice
3. beginning and ending with the fifth scale degree in the soprano voice
The examples below illustrate the harmonic progressions in
the keys of G major and c minor:

In the examples above, pay particular attention to the voice leading. Since all of the
triads (regardless of the soprano starting pitches) are in root position, the bass motion for
every is do fa sol do. In each of the three right
hand versions of this progression, the upper three voices will complete one of three
voice-leading motions:

do do ti do Ti is the lower neighbor to do.

mi fa re mi or me fa re me Fa & re are double neighbors to mi
(or me).
sol la sol sol or sol le sol sol La (or le) is the upper neighbor to
sol.

Notice that the first two chords in this progression begin in the same manner as the
chords in Assignment #5; the last two chords in this progression end in the same manner
as the chords in Assignment #4.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 33

Section IIb: Score Reading

The Alto Clef
Several of the musical examples that you will study in this unit are from compositions

written for string quartet or orchestra. In both cases the viola part is written in the alto clef, a clef

indicating that the third line of the staff is middle C. The example below illustrates a short

melody in the treble clef, the bass clef, and the alto clef. In each case the melody sounds exactly

the same. Notice that the register of this particular melody requires ledger lines in both the treble

and bass clef notation, but the melody written in the alto clef requires no ledger lines.

The Same Melody Notated in Three Different Clefs.

You should work to become as comfortable reading the alto clef as you are reading the

treble and bass clefs. To aid you in becoming more proficient with the alto clef, Keyboard Score

Reading Assignments #4, #5, and #6 involve reading the alto clef at the piano (all three involve

the viola part from a string quartet movement), and all melodic exercises will include melodies

written in the alto clef. When you sing these melodies, you should be aware of the pitches that

you are singing.

Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 34

Score Reading Assignment #4.

Be able to play together at the keyboard in a steady tempo the Violin I and Cello parts of the
following string quartet excerpt. You should also be able to play the Violin II and the Viola parts
alone. Extra credit will be awarded if you are able to perform the Viola part with one of the
other parts. You may be asked to perform this excerpt at the keyboard in groups of three.

Haydn, String Quartet, Op. 64/6, III (Trio): mm. 37-44.

(When performing the Violin I part, you may omit the grace notes.)
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 35

Score Reading Assignment #5.

Be able to play together at the keyboard in a steady tempo the Violin I and Cello parts of the
following string quartet excerpt. You should also be able to play the Violin II and the Viola parts
alone. Extra credit will be awarded if you are able to perform the Viola part with one of the
other parts. You may be asked to perform this excerpt at the keyboard in groups of three.

Mozart, String Quartet, K. 464, II (Trio), mm. 73-80.

(When performing the Violin I part, you may omit the

ornamentation in m. 78 and perform it this measure like m. 74.)
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 36

Score Reading Assignment #6.

Be able to play together at the keyboard in a steady tempo the Violin I and Viola parts of the
following string quartet excerpt.

Haydn, String Quartet, Op. 55/2, III: mm. 1-12.

Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 37

Section III: Melodic Material

Melodic Material
1. Tonic and dominant triads in root position:

Major mode:

Minor mode:

2. Inversions of tonic and dominant triads:

Major mode:

Minor mode:

Melody Drills
MD2-1.

MD2-2.

MD2-3.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 38

MD2-4.

MD2-5.

MD2-6.

MD2-7.

MD2-8.

MD2-9.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 39

MD2-10.

MD2-11.

MD2-12.

Minor mode exercises.

Sing the previous exercises in the minor mode. Use the melodic minor scale to make the
necessary adjustments to scale degrees six and seven. Pay particular attention to exercise 2-6.

The Alto Clef

Some of the melodies in this unit are written in the alto clef; you should work to become

as comfortable reading the alto clef as you are reading the treble and bass clefs. When you sing

these melodies, you should be aware of the pitches that you are singing. See page 33 above for a

more detailed explanation of the alto clef.

Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 40

Melodies
Major mode; simple meter

2-1.

2-2.

2-3.

2-4.

2-5.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 41

Major mode; compound meter

2-6.

2-7.

2-8.

2-9.

2-10.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 42

Minor mode; simple meter

2-11.

2-12.

2-13.

2-14.

2-15.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 43

Minor mode; compound meter

2-16.

2-17.

2-18.

2-19.

2-20.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 44

MixedMajor & minor modes; simple & compound meters

2-21.

2-22.

2-23.

2-24.

2-25.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 45

2-26.

2-27.

2-28.

2-29.

2-30.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 46

Section IV: Rhythmic Material

New Material

1. Combining notes longer than the beat (ta) and a

beat division (ti):

Simple meter:

Compound meter #1:

Compound meter #2:

2. Combining beat division (ti) and two first level

subdivisions (t-k) within a single beat:

Compound meter only:

3. Combining notes longer than the beat (ta) and a

first level subdivision (t-k):

Simple meter:

Compound meter #1:

Compound meter #2:

4. Combining notes longer than the beat (ta) with

both beat division (ti) and first level
subdivision (t-k)compound meter only:

Compound meter #1:

Compound meter #2:

Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 47

Rhythm Drills
Simple Meter.
Category 1.
RD2-1.

RD2-2.

RD2-3.

Category 3.
RD2.4.

RD2-5.

RD2-6.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 48

Rhythm drills in compound meter.

Category 1.1.
RD2-7.

RD2-8.

RD2-9.

Category 1.2.
RD2-10.

RD2-11.

RD2-12.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 49

Category 2.
RD2-13.

RD2-14.

RD2-15.

Category 3.1
RD2-16.

RD2-17.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 50

RD2-18.

Category 3.2
RD2-19.

RD2-20.

RD2-21.

Category 4.1.
RD2-22.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 51

RD2-23.

RD2-24.

Category 4.2.
RD2-25.

RD2-26.

RD2-27.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 52

Rhythms
Simple Meter
2-1.

2-2.

2-3

2-4

2-5
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 53

Compound Meter
2-6.

2-7.

2-8.

2-9.

2-10.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 54

MixedSimple & compound meters

2-11.

2-12.

2-13.

2-14.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 55

2-15.

2-16.

2-17.

2-18.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 56

2-19.

2-20.

2-21.

2-22.