13.8: Lab Activities
- Page ID
- 270125
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)These warm ups can be used for personal practice or in-class activities.
Activity 1
With this activity, go through it once with solfège, and then again with scale degree numbers.
Activity 2
Listening
This listening section focuses on recognizing different embellishments. Your instructor will play one of the following embellishments for you. Listen closely and determine whether you are hearing a passing tone, a neighbor tone, an appoggiatura, or an escape tone.
- Example 1: (a) passing (b) neighbor (c) appoggiatura (d) escape
- Example 2: (a) passing (b) neighbor (c) appoggiatura (d) escape
- Example 3: (a) passing (b) neighbor (c) appoggiatura (d) escape
- Example 4: (a) passing (b) neighbor (c) appoggiatura (d) escape
- Example 5: (a) passing (b) neighbor (c) appoggiatura (d) escape
- Example 6: (a) passing (b) neighbor (c) appoggiatura (d) escape
- Example 7: (a) passing (b) neighbor (c) appoggiatura (d) escape
- Example 8: (a) passing (b) neighbor (c) appoggiatura (d) escape
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.
Melody 1
Before you sing, take a minute to look for embellishments and circle them. This melody focuses around our tonic triad, so you can use those syllables as your anchor notes. Conduct as you sing and be sure to keep your quarter note steady.
Melody 2
Melody 3
Melody 4
Rhythm Practice
Use these rhythm exercises to practice reading and performing rhythms.
Rhythm 1
Rhythm 2
Melodic Composition
Use the basic bass and soprano framework provided and add your own embellishments. You may add additional voices and change the note durations. Try to use three different types of embellishments and include one suspension. As a class, or in small groups, sight sing a number of different embellishments.
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.
Melodic Dictation
Discuss
What is helping you to hear the differences between different embellishments?
How can being aware of these embellishments help us with ear training?
Are there any areas where you need some additional clarification?