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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
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
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:
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
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.
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
Melodic Material
1. Tonic and dominant triads in root position:
Major mode:
Minor mode:
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.
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
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
2-7.
2-8.
2-9.
2-10.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 42
2-11.
2-12.
2-13.
2-14.
2-15.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 43
2-17.
2-18.
2-19.
2-20.
Materials for Musicianship Unit 2: The Tonic/Dominant Relationship
Performance Manual, Page 44
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
New Material
Simple meter:
Simple meter:
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
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
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.