TEACHING RESOURCES
LEVEL A
Melodic Cells
1
Melodic cell 1 should be sung with the syllables "Sol-Fi-Sol" and it acts as "Do-Ti-Do" in the dominant key.
2
Melodic cell 2 should be sung with the syllables "Fa-Fi-Sol." In this instance, "Fi" acts as either a chromatic passing tone or as a chord tone in the V/V harmony.
3
Melodic cell 3 should be sung with the syllables "La-Fi-Sol" and acts as "Re-Ti-Do" in the dominant key.
4
Melodic cell 4 should be sung with the syllables "Fi–La–Sol" and acts as "Ti-Re-Do" in the dominant key.
5
Melodic cell 5 should be sung with the syllables "Fi-Re-Sol" and acts as "Ti-Sol-Do" in the dominant key.
6
Melodic cell 6 should be sung with the syllables "Re-Fi-Sol" and acts as "Sol-Ti-Do" in the dominant key.
7
Melodic cell 7 should be sung with the syllables "Mi–Fi–Sol" and acts as "La-Ti-Do" in the dominant key.
8
Melodic cell 8 should be sung with the syllables "La-Do-Ti" and, though it doesn't feature a chromatic pitch, acts as "Sol-Fa-Mi" in the dominant key. This cell is often heard when resolving a V7/V to V (or, simply, a V7 in the dominant key).
9
Melodic cell 9 should be sung with the syllables "Mi–Ri–Mi" and demonstrates a chromatic lower neighbor.
10
Melodic cell 10 should be sung with the syllables "Do-Ra-Do" and demonstrates a chromatic upper neighbor.
11
Melodic cell 11 should be sung with the syllables "Re-Di-Re" and demonstrates a chromatic lower neighbor.
Harmonic Cells
1
Harmonic cell 1 demonstrates a tonicization of the dominant key. Notice that the soprano voice uses melodic cell 1.
2
Like harmonic cell 1, harmonic cell 2 demonstrates a tonicization of the dominant key but does so with a V7. Notice that the soprano voice uses melodic cell 1.
3
Like harmonic cells 1 and 2, harmonic cell 3 demonstrates a tonicization of the dominant key but does so with a V65.
4
Harmonic cell 4 also utilizes melodic cell 1 to tonicize the dominant key and, because it uses a V42, must resolve to a first-inversion triad.
5
Harmonic cell 5 demonstrates preceding the dominant tonicization using the ii chord. Harmonic cell 5 also features melodic cell 2 in the soprano voice.
6
Harmonic cell 6 demonstrates preceding the dominant tonicization using the IV chord. Harmonic cell 6 also features melodic cell 2 in the soprano voice.
7
Harmonic cell 7 demonstrates preceding the dominant with a secondary viiº7 chord. Notice the ascending chromatic pitches in the bass voice.
8
Harmonic cell 8 demonstrates preceding the dominant with a secondary viiº65 chord.
9
Harmonic cell 9 demonstrates preceding the dominant with a secondary viiº43 chord. Take note that this specific progression must resolve to a V6 chord.
10
Harmonic cell 10 demonstrates preceding the dominant with a secondary viiº7 chord. Notice the ascending chromatic pitches in the bass voice
11
Harmonic cell 11 demonstrates preceding the dominant with a secondary viiº65 chord.
12
Harmonic cell 12 demonstrates preceding the dominant with a secondary viiº43 chord. Take note that this specific progression must resolve to a V6 chord.
