TEACHING RESOURCES
LEVEL 5
Melodic Cells
1
Melodic cell 1 should be sung with the syllables "Do–Te–Do." This pattern is relatively rare in the early stages of music theory learning as "Do-Ti-Do" is far-more pervasive.
2
Melodic cell 2 should be sung with the syllables "Do–Me–Do" and outlines a minor third (m3).
3
Melodic cell 3 should be sung with the syllables "Me–Do–Me."
4
Melodic cell 4 should be sung with the syllables "Do–Me–Sol" and outlines an ascending arpeggiated minor tonic triad.
5
Melodic cell 5 should be sung with the syllables "Sol–Me–Do" and outlines a descending arpeggiated minor tonic triad.
6
Melodic cell 6 should be sung with the syllables "Do–Re–Me" and outlines the first three pitches of an ascending minor scale.
7
Melodic cell 7 should be sung with the syllables "Me–Re–Do" and outlines the last three pitches of an ascending minor scale.
8
Melodic cell 8 should be sung with the syllables "Me–Fa–Sol" and features an ascending minor scale from "Me" to "Sol."
9
Melodic cell 9 should be sung with the syllables "Sol–Fa–Me" and features an descending minor scale from "Sol" to "Me."
Harmonic Cells
1
Harmonic cell 1 demonstrates a i-V-i in a minor key. Take special notice of the B-natural in the alto voice. Without raising the 7th scale degree, this V chord would be minor and less functional.
2
Harmonic cell 2 combines melodic cell 6 in the soprano voice as well as melodic cell 7 in the bass voice to create a voice exchange.
3
Harmonic cell 3 combines melodic cell 7 in the soprano voice as well as melodic cell 6 in the bass voice to create a voice exchange.
4
Harmonic cell 4 combines melodic cell 3 in the soprano voice as well as melodic cell 2 in the bass voice to create a voice exchange.
5
Harmonic cell 5 combines melodic cell 2 in the soprano voice as well as melodic cell 3 in the bass voice to create a voice exchange.
