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10.6: Lab Activities

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    Warm Ups

    These warm ups can be used for personal practice or in-class activities. Use moveable-do with major and minor syllables.

    Activity 1

    Go through this activity with a variety of pitches - at least five - before moving on to the next activity. In this warm up, you will be outlining a major seventh chord.

    1. Play a pitch in your range on the piano.
    2. Consider this pitch to be your do.
    3. Sing mi.
    4. Check the pitch with the piano and make the necessary adjustments
    5. Sing do again.
    6. Sing sol.
    7. Sing do again.
    8. Sing ti.
    9. Sing do (the lower, original do).

    Activity 2

    1. Choose a tonic and play the tonic chord on the piano.
    2. Consider this pitch to be your do.
    3. Sing sol.
    4. Sing an ascending root position dominant seventh: sol-ti-re-fa
    5. Sing an ascending third inversion dominant seventh: fa-sol-ti-re
    6. Sing an ascending first inversion dominant seventh: ti-re-fa-sol
    7. Sing an ascending second inversion dominant seventh: re-fa-sol-ti
    8. Sing a descending tonic chord: do-sol-mi-do

    Listening

    Seventh Chords

    This listening section focuses on recognizing seventh chord qualities. Your instructor will play one of the following chords for you. Listen closely and determine whether you are hearing a dominant seventh chord, a major seventh chord, a minor seventh chord, a diminished seventh chord, or a half-diminished seventh chord.

    1. Example 1: (a) dominant seventh (Mm7) (b) major seventh (M7) (c) minor seventh (m7) (d) diminished seventh (°7) (e) half-diminished seventh (ø7)
    2. Example 2: (a) dominant seventh (Mm7) (b) major seventh (M7) (c) minor seventh (m7) (d) diminished seventh (°7) (e) half-diminished seventh (ø7)
    3. Example 3: (a) dominant seventh (Mm7) (b) major seventh (M7) (c) minor seventh (m7) (d) diminished seventh (°7) (e) half-diminished seventh (ø7)
    4. Example 4: (a) dominant seventh (Mm7) (b) major seventh (M7) (c) minor seventh (m7) (d) diminished seventh (°7) (e) half-diminished seventh (ø7)
    5. Example 5: (a) dominant seventh (Mm7) (b) major seventh (M7) (c) minor seventh (m7) (d) diminished seventh (°7) (e) half-diminished seventh (ø7)
    6. Example 6: (a) dominant seventh (Mm7) (b) major seventh (M7) (c) minor seventh (m7) (d) diminished seventh (°7) (e) half-diminished seventh (ø7)
    7. Example 7: (a) dominant seventh (Mm7) (b) major seventh (M7) (c) minor seventh (m7) (d) diminished seventh (°7) (e) half-diminished seventh (ø7)
    8. Example 8: (a) dominant seventh (Mm7) (b) major seventh (M7) (c) minor seventh (m7) (d) diminished seventh (°7) (e) half-diminished seventh (ø7)

    Intervals

    This listening section focuses on recognizing the difference between major and minor seventh intervals. Your instructor will play one of the following intervals for you. Listen closely and determine whether you are hearing a major sixth, a minor seventh, or a major seventh.

    1. Example 1: (a) minor 7th (b) major 7th (c) major 6th
    2. Example 2: (a) minor 7th (b) major 7th (c) major 6th
    3. Example 3: (a) minor 7th (b) major 7th (c) major 6th
    4. Example 4: (a) minor 7th (b) major 7th (c) major 6th
    5. Example 5: (a) minor 7th (b) major 7th (c) major 6th

    Sight Singing

    Use these melodies to practice sight singing. True sight singing is your attempt the very first time you sing the melody. Our goal is to sing it perfectly the first time through. However, this is a new skill for many. As with any new skill, practicing is the key to improvement. If the melody is not perfect the first time through, discuss as a class or with your group and determine where errors were made. Why do you think that particular area was challenging? Practice a few parts and then attempt the melody again.

    A practice suggestion with these melodies is to discuss the chord qualities you will be singing before going through this the first time. Speaking through the solfège can also be very helpful.

    Melody 1

    Sixteen measures, treble clef, key of A

    Melody 2

    Eight measures, A minor, time signature of 6/8

    Melody 3

    Eight measures in the key of B-flat major, bass clef

    Melodic Dictation

    Use this space to notate melodies played in class.

    Melody 1

    Blank staff with treble clef provided

    Melody 2

    Blank staff with bass clef provided

    Rhythmic Dictation

    Use the staves provided to complete short rhythmic dictations with your instructor. As you listen to each example, conduct with your non-writing hand. Use the space provided to draw out your beat boxes.

    1. Two blank measures in 6/8





    2. Two measures in 4/4




    3. Two measures in 3/4




    4. Two blank measures in 12/8

    Discuss

    What do you hear with each of the chord qualities? Are there any songs, pictures, or ideas that come to mind when you hear a particular chord?

    This page titled 10.6: Lab Activities is shared under a CC BY-NC 4.0 license and was authored, remixed, and/or curated by Lauren C. Sharkey.

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