TEACHING RESOURCES
LEVEL 2
Melodic Cells
1
Melodic cell 1 should be sung with the syllables "Re-Ti-Do" and it outlines the resolution from V to I with the focus on "Ti-Do" to demonstrate the tendency of the leading tone.
2
Melodic cell 2 should be sung with the syllables "Ti-Re–Do" and, like cell 1, outlines the resolution from V to I.
3
Melodic cell 3 should be sung with the syllables "Sol-Ti-Do" and, like cells 1 and 2, outlines the resolution from V to I with the focus on "Ti-Do" to demonstrate the tendency of the leading tone.
4
Melodic cell 4 should be sung with the syllables "Ti–Sol–Do" and, like cells 1, 2, and 3, outlines the resolution from V to I with the focus on "Sol-Do" to demonstrate the strong interval of a P4.
5
Melodic cell 5 should be sung with the syllables "Do-Mi-Re" and outlines moving from I to V.
6
Melodic cell 6 should be sung with the syllables "Re-Mi-Do."
7
Melodic cell 7 should be sung with the syllables "Mi–Do–Re" and, cell 5, outlines moving from I to V.
8
Melodic cell 8 should be sung with the syllables "Mi–Sol–Fa" and, like cells 5 and 7, outlines moving from I to V7.
9
Melodic cell 9 should be sung with the syllables "Fa–Sol–Mi" and demonstrates the prolonged downward resolution from "Fa" to "Mi."
10
Melodic cell 10 should be sung with the syllables "Sol–Mi–Fa."
11
Melodic cell "11" should be sung with the syllables "Re-Fa-Mi" and demonstrates the downward resolution from "Fa" to "Mi."
12
Melodic cell 12 should be sung with the syllables "Fa-Re-Mi" and, like cell 9, demonstrates the prolonged downward resolution from "Fa" to "Mi."
Harmonic Cells
1
Harmonic cell 1 demonstrates a tonic expansion. Notice the voice exchanges between the soprano and the bass voices.
2
Harmonic cell 2 demonstrates an arpeggiated six-four chord on the tonic harmony. Notice the use of melodic cell 5 from Level 1 in the bass voice!
3
Harmonic cell 3 combines additional melodic cells from Level 1 to create an imperfect authentic cadence (IAC).
4
Harmonic cell 4 combines additional melodic cells from Level 1 to create an imperfect authentic cadence (IAC).
5
Harmonic cell 5 demonstrates the cadential six-four chord.
6
Harmonic cell 6 demonstrates a tonic expansion leading to a V chord. Notice the use of melodic cell 7 in the soprano voice.
7
Harmonic cell 7 demonstrates a tonic expansion leading to a V chord. Notice the use of melodic cell 5 in the soprano voice.
