Course 1: New Readers
Unit 6: ii and V7
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Introducing ii
The ii chord (Re-Fa-La) is related to IV for having Fa and La in common. It most often precedes V patterns. This exercise would be analyzed as: || I | ii | I | ii V | I | ii | V(7) | ii V7 I || While listening to this melody, try to sing the roots of the chords: || Do | Re | Do | Re Sol | Do | Re | Sol | Re-Sol Do ||
Treble Clef,
Cmaj,
4/4
The ii chord (Re-Fa-La) is related to IV for having Fa and La in common. It most often precedes V patterns. This exercise would be analyzed as: || I | ii | I | ii V | I | ii | V(7) | ii V7 I || While listening to this melody, try to sing the roots of the chords: || Do | Re | Do | Re Sol | Do | Re | Sol | Re-Sol Do ||
Dominant 7th
Adding 7 adds another note skip to a chord. V7, then, is Sol-Ti-Re & Fa. Ti tends to move to do, and Fa has a tendency to move to mi. These are considered "sensitive pitches" in this harmony as they have a strong melodic drive to resolve in this way.
Treble Clef,
Cmaj,
4/4
Adding 7 adds another note skip to a chord. V7, then, is Sol-Ti-Re & Fa. Ti tends to move to do, and Fa has a tendency to move to mi. These are considered "sensitive pitches" in this harmony as they have a strong melodic drive to resolve in this way.
ii-V-I
The pattern of Re-Sol-Do is very common at cadences. Cadences happen at the end of phrases where rhythmic values slow down and come to a sense of partial or full completion of a musical idea. Do you see how Re-Sol-Do makes the first and second stave sound like independent musical thoughts?
Treble Clef,
Cmaj,
4/4
The pattern of Re-Sol-Do is very common at cadences. Cadences happen at the end of phrases where rhythmic values slow down and come to a sense of partial or full completion of a musical idea. Do you see how Re-Sol-Do makes the first and second stave sound like independent musical thoughts?
Schenker
Try singing on the quarter note values only as a practice tool. Then, add the eighth note values after you are successful on quarter note values. You will find more and more confidence with those notes with those target pulses and build your inner hearing strength with this exercise.
Treble Clef,
Cmaj,
4/4
Try singing on the quarter note values only as a practice tool. Then, add the eighth note values after you are successful on quarter note values. You will find more and more confidence with those notes with those target pulses and build your inner hearing strength with this exercise.
Coming Together
This exercise implies the three primary chords along with the secondary chord, ii. If you can start to anticipate the patterns, you probably are becoming aware of chordal progression in melodies. If not, no worries, it will come with time and practice!
Treble Clef,
Cmaj,
4/4
This exercise implies the three primary chords along with the secondary chord, ii. If you can start to anticipate the patterns, you probably are becoming aware of chordal progression in melodies. If not, no worries, it will come with time and practice!
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