Study Notes: Harmonic Dictation Preparation

Harmonic Dictation Preparation

  • In this Aural Skills chapter, the process of harmonic dictation is organized into manageable listening segments.
  • The aim is to prepare the brain prior to auditory reception and utilize all available tools for effective harmonic dictation.

Required Skills for Successful Harmonic Dictation

  • Understanding Chord Relationships: Grasp the connection between chords and their tonal center.
  • Chord Quality Discrimination: Ability to differentiate chord qualities and recognize inversions.
  • Melodic Pattern Recognition: Identify familiar melodic patterns (linear movement) within melody and bass lines and their placement in the example.
  • Cadence Recognition and Notation: Identify and notate cadences.
  • Familiarity with Common-Practice Style Norms: Understand the conventions in common-practice music style.

The Process of Harmonic Dictation

  • There are two harmonic dictation questions in the Free-Response section of the exam (FR 3 and FR 4).
    • The key is provided, one will be in major and the other in minor mode.
    • Each example consists of nine chords, starting with the first chord always being tonic (complete), followed by eight blank chords to fill in.
    • Students fill in the soprano line, bass line, and Roman numeral chord symbols, including any necessary inversions.
    • The meter is consistently simple; rhythmic factors are not of concern for these exercises.
    • The focus is on hearing harmonic progressions and their logical relationships within the given key, correctly notating these on the grand staff.
    • Each progression is played four times on a piano, with a 30-second pause after the first playback and one minute after the subsequent playbacks.

Fundamental Concepts to Memorize

  • Harmonic Functions:

    • Tonic: I and vi
    • Subdominant (predominant): IV and ii or ii7
    • Dominant: V or V and vii° or viiº7

  • Harmonic Truths:

    • Root position chords are perceived as strong.
    • The supertonic and leading-tone chords are often found in first inversion.
    • The supertonic chord in first inversion (ii6, ii) serves as a strong subdominant harmony since it has Fa in the bass.
    • Second inversion and occasionally first inversion harmonies prolong stronger chords. Four basic methods of prolonging harmonies include:
      • Passing Harmonies: Sequence - IV 6
      • Neighbor Harmonies: Using voice - I IV I
        • Example Bass Line: Do-Re-Mi (neighbor tone in upper voice) / Bass: Do-Do-Do
      • Arpeggiated Harmonies: Using triads - I 6 1
      • Cadential Harmonies: Utilizing dominant function when preceding the cadence - IV I; Bass Line: So-So-Do

  • Harmonic Progression Movement:

    • Progress can be noted as: Tonic to Subdominant to Dominant to Tonic (T-S-D-T)
    • Example Movement: I vi IV ii (T), V V7 (D), I (T)
    • Note: Dominant harmonies do not regress to subdominant functions (retrogression).

  • Chromatic Chords: (secondary dominants or secondary leading tones) are known to prolong the harmony they lead.

    • Example: I leads to Vg/V which leads to V, then T.

  • Strong Beats and Functional Changes:

    • Significant harmonic changes sync with strong beats in the measure.
    • Conjunct bass lines suggest prolongation of harmonies, whereas large skips in the bass often signal a change in harmonic function.

Connecting Hearing to Notation

  • Common Endings of a Phrase:

    • Typically, only tonic (I), dominant (V), or vi can be the final chord of phrases.
    • Recognize cadential patterns for both bass and soprano lines.
    • Develop skills for identifying bass line patterns aurally and understanding implied harmonies.

  • Common Beginnings of a Phrase:

    • Phrases often return to tonic to establish a sense of home.
    • Identifying bass line patterns is crucial.

  • Middle Phrase Function:

    • Usually reflects common subdominant harmony.
    • Potential use of chromatic harmony.
    • Inverted chords might be used for prolongation; remain attentive to basic patterns in bass lines.

Understanding Implied Harmonies

  • Implied Harmonies Based on Bass Lines:
    • When the bass line states:
      • Do → I or IV → mTi → V6 or V → vii7 or vii°7
      • La → vi
      • So → Fa → IV
      • Mi → I 6 → Re → ii → IV6
      • ii6 or ii% → V, V, or viiº
      • Ra → Recognizing possible ii

Recognizing and Notating Cadences

  • It is crucial to aurally identify and accurately notate cadences.
  • Two critical bass line endings are:
    • So-So-Do:
      • Implies an authentic cadence (V-I or V-i) with the differences noted based on preceding chords:
        • Major: So-So-Do = V7 to I
        • Minor: So-So-Do = V7 to i
    • Fa-So-Do:
      • Can represent both IV-V-I or iv-V-i; both necessitate the identification of preceding chords to discern between major and minor cadences.

Identifying Common Bass Lines to Start a Phrase

  • Bass lines that typically start phrases might include:
    1. Do-Ti-Do → I-V6-I
    2. Do-Ti-Do → I-V% - I
    3. Do-Re-Mi → I-V-16 or I-V6
    4. Do-Re-Mi → I-viiº6-16
    5. Do-Do-Do → I-IV-I
    6. Do-Fa-Mi → I-V6 (resolution in the bass)
    7. Do-Fa-Mi → I-IV-16
    8. Do-Mi-So → I-16-16

Practical Exercises and Applications

  • The following exercises contain various examples with specified progressions in both major and minor to reinforce understanding of cadence and bass line relationships.
  • Directions involve notating the bass, soprano, and chord symbols, considering inversions appropriated in context.
  • Practice with awareness of the melodic patterns accompanying bass lines to develop aural skills further.