1. Melodic, Harmonic, and Rhythmic Dictation
  2. Module 8: Common Diatonic Harmonic Progressions

Module 8: Common Diatonic Harmonic Progressions

When we listen to music, we tend to organize the notes, rhythms, and chords into larger structures called phrases, or statements that form a complete musical idea. Skilled musicians use various types of phrases to create a musical narrative, or story that draws a listener into and through a piece of music.

a. Cadences and Phrasing

This section has not been built yet and will be launched in 2022.

b. The TPDT Progression

Melody 8-b1

  1. Listen to the following pitch pattern. Melody 7-f1.mp3
  2. Listen to the pitch pattern again. Determine the number of pitches.
    3. 10
  3. The pitch pattern is in the key of E-flat major. The first pitch is first line E-flat in the treble clef. Listen and notate the pitch pattern.
    4. Melody_8-b1a

Melody 8-b2

  1. Listen to the following melody.
  2. Name the time signature.
    3. 3/4
  3. Listen to the melody again. Determine the number of measures.
    4. 8
  4. Listen again. Notate only the rhythm above the staff.
    5. Melody_8-b2b
  5. The key signature is D major. Determine the clef and starting pitch.
    6. Treble clef, F-sharp first space
  6. Listen again. Notate the melody.
    7. Melody_8-b2a

Melody 8-b3

  1. Listen to the following melody.
  2. Name the time signature.
    3. 2/4
  3. Listen to the melody again. Determine the number of measures.
    4. 8
  4. Listen again. Notate only the rhythm above the staff.
    5. Melody_8-b3b
  5. The key signature is G minor. Determine the clef and starting pitch.
    6. Treble clef, G second line
  6. Listen again. Notate the melody.
    7. Melody_8-b3a

Melody 8-b4

  1. Listen to the following melody.
  2. Name the time signature.
    3. 4/4
  3. Listen to the melody again. Determine the number of measures.
    4. 8
  4. Listen again. Notate only the rhythm above the staff.
    5. Melody_8-b4b
  5. The key signature is A major. Determine the clef and starting pitch.
    6. Bass clef, C# second space
  6. Listen again. Notate the melody.
    7. Melody_8-b4a

Melody 8-b5

  1. Listen to the following melody.
  2. Name the time signature.
    3. 6/8
  3. Listen to the melody again. Determine the number of measures.
    4. 8
  4. Listen again. Notate only the rhythm above the staff.
    5. Melody_8-b5b
  5. The key signature is F minor. Determine the clef and starting pitch.
    6. Treble clef, A-flat second space
  6. Listen again. Notate the melody.
    7. Melody_8-b5a

c. Circle of Fifths Progressions

This section has not been built yet and will be launched in 2022.

d. Filled-In Descending Thirds (Pachelbel) Progressions

This section has not been built yet and will be launched in 2022.

e. Ascending Sequential Progressions

This section has not been built yet and will be launched in 2022.
  1. Begin by taking a rhythmic dictation of your melody (see steps above). Figure out where things happen before you try to figure out what happens.
  2. Listen for and identify the tonic. If the melody modulates, listen for indications of each tonal area (usually you can listen for dominant sounds).
  3. Identify important scale degrees along the way by writing their numbers above the notes on your rhythmic dictation. Mark chromatic notes. These may include longer notes, notes on cadences, the first note, the last note, etc. Be sure to listen to pitches as scale degrees, using your scale degree patterns to verify what you think you hear.
  4. Listen for how the “important” scale degrees (from step 3 above) are approached and left. Listen also for groups of notes that form identifiable structures such as triads, seventh chords, etc.
  5. Once you have labeled your rhythm with scale degrees, transcribe this into standard notation on a staff.
  6. Double check your answer by singing what you have written and comparing it to what you remember.
  1. Begin by taking a rhythmic dictation for the melody as described above.
  2. Listen for repeating pitches or pitches that are close to known pitches, even if (especially if) they are separated by only a few pitches. Listen for embedded chromatic lines in the melody.
  3. Listen for characteristic intervals. For example, many melodies will use a particular interval repeatedly. Try to find all instances of that interval wherever it occurs.