How to Understand a Harmonic Progression in Fewer than

Hearings:

Extending and Implementing the Guide-Tone Method Using

the “Do-Ti Test”

• Multiple modes of hearing produce a convergence of evidence

• Productive methods interact with one another

• Do-Ti Test is not a replacement but rather a supplement to existing methods

• Do-Ti Test is designed primarily for first-year students

• Do-Ti Test assumes the use of moveable-Do

Methodological Assumptions

Integrated Model of Harmonic Dictation Techniques

How students see the face:

Beethoven Piano Sonata Op. 13, mvt. 2, Adagio cantabile, mm. 9–11

What students hear:

What (some) students notate:

Beethoven Piano Sonata Op. 13, mvt. 2, Adagio cantabile, mm. 9–11

What students hear:

What students often notate:

How might students pull the pieces together?

How might students pull the pieces together?

Active vs. Passive Focus

• Active focus refers to the listening techniques that one actively sustains in the inner ear.a) counting beatsb) Do-Ti Test

• Passive focus refers to the disengaged awareness of what one is hearing.a) noticing the durations that occur within each

beatb) noticing whether chords are Do- or Ti-chords

Haydn Cello Concerto in C Major, mvt. 3, Allegro molto, mm. 201–205

Do/Ti:

Quality:

RNFB:

BassLine:

PhraseFunction:

Mozart Symphony No. 36 in C Major, K. 545, mvt. 1, Adagio - Allegro spiritoso, mm. 95–101

Do/Ti:

Quality:

RNFB:

Bass Line:

PhraseFunction:

Diatonic Seventh Chords

Do Chords Ti Chords Do+Ti Chord

IV7 V7 I7

ii7 vii07

vi7 iii7

Do Chords Ti Chords Te Chords Do+Te Chord

iv7 V7 III7 i7

iio7 vii07 VII7

VI7 v7

Major Keys:

Minor Keys:

Major-Key Secondary Dominants

V(7)/V Do forms a dissonant seventh/tritone; must resolve down

Do Ti

V(7)/IV Do+Te; Do is root of dominant-functioning harmony

Do Do

V(7)/ii Di(!); Di is LT to Re Di Re (Do)

V(7)/iii Ti; Ti is root and usually resolves (by leap) to a Ti chord

Ti Ti

V(7)/vi Ti; Ti is fifth and usually resolves (by step) to a Do chord

Ti Do

Prerequisite skills:1. Ability to hear the presence of an applied leading tone2. Ability to hear the quality/function of the applied

chord (D7, not LT7)

Minor-Key Secondary Leading-Tone Chords

viio(7)/V Do forms a dissonant tritone; usually resolves down

viio(7)/iv Ra+Te; Ra is the seventh; usually resolves down

viio(7)/III De (enharmonic eq. to Ti) is seventh; usually resolves down to Te

viio(7)/VI Ra+Te; Ra is the fifth; usually resolves down

viio(7)/VII Do (functions as La in relative major or Re in the subtonic area)

Prerequisite skills:1. Ability to hear the presence of an applied leading tone2. Ability to hear the quality/function of the applied

chord (LT7, not D7)

Helpful to remember:1. Only three aurally distinguishable fully-dim. sevenths2. Thus, final analysis depends upon real (or expected) resolution3. Provisional analysis is encouraged, such that:

a) any o7 chord with Ti is assumed to be a diatonic viio7

b) any secondary o7 chord with Do is assumed to be a viio7/V.

Chopin Nocturne in Eb Major, Op. 9 no. 2, mm. 1–4

Do/Ti:

Quality:

RNFB:

BassLine:

PhraseFunction:

Modulations to Closely-Related Keys

Enharmonic Modulations

“Abandon hope all ye who enter here…”

Haydn String Quartet, Op. 76 no. 6, mvt. 2, Fantasia (Adagio), mm. 31-39

Do/Ti:

Quality:

RNFB:

BassLine:

PhraseFunction:

Do-Ti Patterns

• Harmonic idioms as Do-Ti building blocks

• Sequences and their Do-Ti patterns • Do-Ti building blocks in conjunction

with metric structure Do–Ti–Do (on strong beat) usually Tonic

expanding Ti–Do–Ti (on strong beat) usually Dominant

expanding

Beethoven Symphony No. 5, Op. 67, mvt. 4, Allegro, mm. 1–26

I:

II:

III:

IV:

I:

II:

III:

IV:

Level:

Benefits of the Do-Ti Test

1. “Triangulates” other methods2. A clear, practical model for thinking

and hearing3. Critical distinctions placed at the

beginning of the hearing process4. Trains the ear to listen horizontally5. Promotes active listening