contextual melodic dictations - g major music theory 6œ.œœœ 19. set 2. intervals in the tonic...

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Listen to a melody and write it down! 1. Download the "Blank Answer Sheets" (pdf) from www.gmajormusictheory.org/MelDict 2. Click and play one of the numbered melodies (mp3) on this web page. 3. Write the melody on the answer sheet. For extra credit write chords or accompanying melodies. 4. Download the "Solutions" page to check your work and get helpful hints.You can also work off line. Download the melodies to your portable mp3 player or to a computer.

The beat will be established with a one measure introduction. Except where noted, melodies are two phrases long. There are no rests in them, and they begin and end on the tonic.

1. To begin with, there will be only quarters, halves and dotted halves when the dictations are in common time or in 3/4. Blanks are for extra credit: chord symbols above the staff and Roman numerals below.

Set 1. Stepwise Melodies

G: I vi I ii V7 I

G

œ œ ˙

Em Gœ œ œ œ

Am

˙ ˙

D7 G

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b 8

6 œ

J

œ œ

J

œ

2. In 6/8 listen for the dotted-quarter note as the beat even if the tempo is slow. The q e rhythm iscommon in this meter. Half the melodies are in bass clef.

F: I I@ V6 I IV I

Fœ

J

œ .œ

V

CF/C C/E F

œ

J

œ œ

j

œ

Bb

œ

J

œ.œ

F

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4

3

˙ œ

3. Half of the melodies are in minor. Before playing the melody, check the first note to find the key.

Em: i iv or iiØ# V# i

Em

œ œ œ

Am or F#Ø7/Aor F#m7b5/A

˙ œ .˙.˙

B7/D#

˙ œ .˙ .˙

Em

?

b 8

6œ

j

œ# œ

J

œ

4. In minor, raise 7 (the leading tone) when it goes to the tonic. When three consecutive eighth notes begin on a strong beat in 6/8, beam them together.

Dm: i V III iv(6) V i

Dm.œ .œ

Aœ œ œ œ

J

œ

Gm(/Bb)F

.œ .œ

A Dm

- 1 -www.gmajormusictheory.org

Contextual Melodic DictationsSolutions

by Gilbert DeBenedetti

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5. From Beethoven's violin concerto. Excerpts from the literature may not conform to the other melodies: this excerpt is only one phrase of 4 measures, it starts on 5 (sol) and ends on 2 (re). There are rests at the end of the phrase. The instrumentation is woodwinds with the melody in the oboe.Extra credit: write the first and last chords and the type of cadence.

D:

____

____

œ ˙ œ œ œ œ œ œŒ Ó

V

Half cadenceA

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6. When ^6 and ^7 appear in minor, use melodic minor--raise these notes when they ascend to the next notes, and leave them low when they descend. No extra credit.

œ œ ˙ œ œ ˙ œ# œ# ˙

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b

b

8

6

8

6

œ

J

œ œ

J

œ

7.

œ

j

œ œ

j

œ

p

œ

J

œ .œ

œ œ œ œ œ œ

œ œn œ# œ œ œ

œ

j

œ œ

j

œ

.œ .œ

.œ .œ

? #

4

3 œ œ œ

8.

I V I I6 V I V I (5)

G.˙

D˙ œ

G.˙

G/Bœ œ œ

D(7)/F#

6

œ œ œ

G.˙

D.˙

G

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b

b

8

6

8

6

œ

j

œ œ

J

œ

9. Extra credit: On the bottom staff notate the accompaning guitar melody.

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.œ

.œ .œ

.œ .œ

œ

J

œ œ œ œ

.œ.œ

œ œ œ .œ

.œ .œ

- 2 -

DEBENEDETTI: CONTEXTUAL MELODIC DICTATIONS, SET ONE

www.gmajormusictheory.org

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10.

D: I V V6 I I@ V I

Dœ œ

Aœ œ œ œ

or: A ---A/C# D

œ œ ˙

V

D/A A D

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6

œ

j

œ œ

j

œ

11. No extra credit

Bb:

œ œ œ .œ œ

j

œ œ

j

œ œ

j

œ.œ

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3˙ œ

12.

Bm: i VI i IV i6 V7 i

Bm˙ œ œ œ œ

G

.˙

Bm

˙# œ#

E

œ œ œ

Bm/D

.˙

F#7

.˙

Bm

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bb8

6 œœ œ œ

J

œ

Gm: i iv i iv V7 i

Gmœ

J

œ .œ

PT

Cm Gmœ

J

œ œ

j

œ

Cm

œ œ œ#.œ

D7 Gm

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14. From R. Schumann: "Chorale." The note at the end of measure 2 is held with a fermata. There is a leap to tonic after the fermata. Otherwise the excerpt is conjunct, that is, all stepwise.

œ œ œ œ

U

œ œ œ œ œ œ ˙

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8

6 œ œ# œ.œ

15.

Em: i V i III iv6 V7 i

Em B Em G Am/C B7 Em

œ

J

œ .œ œ œ œ .œ œ œ# œ# .œ

- 3 -



13.

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3 œ

J

œ

13. When the first note should be beamed to the next, only the notehead is given. You must write the stem and the beam yourself.

Dm Gm A/C# Dm

Dm: i iv V6 i

œ

j

œ œ

j

œ.œ œ œ œ œ œ œ œ

j

œ# .œ

?

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#

#

8

6

8

6

œ œ œ œ œ œ

17. For extra credit write the bass.

.œ.œ

.œ .œ

.˙

œ œ œ œ œ œ

.œ

.œ

.˙

.˙

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18. Beam pairs of eighth notes together in 4/4 or 3/4 when the first eighth note is on the beat.

Bm Em Bm Em C#dim/E F# Bm

Bm: i iv i iv vii°6 V i

œ œ ˙ œ œ œ œ œ œ œ ˙

melody has accented neighbor

- 4 -



16. In 3/8, as in 6/8, beam the eighth notes together when there are three at a time.

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19.

Set 2. Intervals in the Tonic Triad: Thirds and Fourths

G D7 G D G

G: I V7 I V I

.œ .œ .œ œ

j

œ .˙

&bb

bb

8

6

œ œ œ œ œ œ

20. Fm Bbm Fm Gdim/Bb C Fm

Fm: i iv i ii°6 V i

œ œ œ.œ œ œ œ œ œn œn œ

J

œn.œ

? ## c œ œ# œ œ œ œ

21. The dotted-quarter, eighth rhythm. (no extra credit)

.œ

J

œ˙ œ œ œ œ œ .œ

j

œ# ˙

&bb

bb

bc

.œ

j

œ ˙

22. Dvorak: Symphony No. 9 "From the New World", Movement 2. One measure of clicks precedes the melody. The melody begins on 3, and there is a ritard at the end. Extra credit: What is the accidental in the accompaniment in measure 6? An

The accompanying line with the accidental continues with what notes? Bb C Db .

.œ

j

œ ˙.œ

j

œ.œ

j

œ w

&bb

bb

b .œ

j

œ ˙.œ

j

œ ˙ œ œ .œ

j

œ w

?c œ œ .œ

j

œ

23. Extra credit: The term for this kind of accompaniment is ostinato.

œ œ˙

- 5 -

œ œ.œ

J

œœ œ ˙


A. The third between 5 and ^3.

Original:

B. The fourth betweeen 1 and ^5.

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Ah, poor bird,

24. Melody played solo once. Then played as a 2, 3 and then 4 part round.

œ œ ˙

Take thy flight,

œœ œ œ# œ

œ œ

High a bove the sor rows of

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this sad night.- -

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6

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j

œ œ

j

œ

25. Dm A G Dm/F A/E (A) Dm

Dm: i V IV i6 V@ (V) i

œ œ œ .œ

borrowed fromparallel major

œn

J

œ# œj

œ œ œ œ .œ

passing

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3

œ œ œ

26.

˙ œ .œ

j

œ œ .˙ œ œ œ ˙ œ .œ

J

œ œ.˙

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8

6œ œ œ œ

j

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27. A E A E7 A

A: I V I V7 I

œ

J

œ.œ œ œ œ

œJ

œ œ œ œ .œ

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8

6

8

6

.œ .œ

28. Extra credit: On the top staff, write the top notes of the piano accompaniment.

œ œ œ œ œ œ

.œ‰œ œ

œ

J

œ.œ

.œ .œ

œ œ œ œ œ œ

.˙

œ

J

œ.œ

&bbcœ œ œ œ œ œ

29.

œ œ œ˙

- 6 -

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DEBENEDETTI: CONTEXTUAL MELODIC DICTATIONS, SET TWO


Traditional 1. 2. 3. 4.

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30.

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b 4

3

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32.

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œ.˙

.œ

J

œ œ œœœ œ œ œn

.˙

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6

œ œ œ .œ

33.

œœ œ

.œ œ œ œ œ œ œ œ œ œ .œ

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bc œ œ œ œ œ

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œœœ œ œ œ œ œ ˙

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œ ˙ œ œ w

- 7 -

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C. The third between 1 to ^3

31. Vivaldi: Violin Concerto Op. 3 No. 12, Movement 2. Four clicks establish the beat. The excerpt ends on ^2. Write a half note rest at the end of the last measure.

Original:

35. "Kumbaya." There is a descending fifth between the first and second phrase. No restsTraditional

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6 œJ

œœ

J

œ œ œ œ .œ# œ œ œ œJ

œ œ

J

œ.œ

?

bc œ œ œ œ œ .œ œ .œ œ

˙œ œ œ œ œ .œ œ .œ œ# ˙

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j

œ.œ

j

œœœœœœœœœ

œ

Œ Ó

&b4

3 œœ œ œ

œ œ œ œ .œ œ .œ œ œ œ œ

&b

œ œ œ .œ

J

œœ

- 8 -

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36.

37. The dotted-eighth, sixteenth rhythm.

38. Mozart: Violin Concerto No. 4, first movement. There is no introduction. Write without rests in measures 1, 2 and 3. Write rests for beats 2, 3 and 4 in measure 4

Original:

39. Beethoven: Symphony No. 1, movement 2. The tempo is established with clicks for one full measure plus two beats. The first note is a pick-up on 5. The last measure is incomplete; write a quarter-note and a quarter-note rest.

Original:

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8

6

8

6

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œ œ

J

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40.

For extra credit fill in the accompanying melody or chords

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41.

œ

j

œ .œ

Set 3. Intervals in V7

.œ œ

j

œ

œ œ# œ# œ œ œ

.œ

.œ

œ

J

œ# .œ

.˙

&

?

bb

bb

bb

bb

c

c

œœ œ

œ œ œ œ

œ œ œœ œ

Original:

œœ œ

œ œœ

œ

œ

˙

œ œœ œ

œ œœ

œœ œ œ

œ œ

œœ œ œ

œ œ

œ

œœ

œ

&4

3

œœ

œ

42. Mendelssohn: Violin concerto, movement 2. There are two measures of introduction, and the melody starts on 5.

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œœ ˙

œ œ

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œ˙

œ œ œœ

œ

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A. The third between 7 and ^2.

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bb

b 8

6œœ œ œ

J

œ

43. Notate first line only; for extra credit notate both lines

B. The third between 4 and ^2

œ

J

œ .œ .œ .œ œ

J

œ .œ

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bb

bœœ œ œ œ œ œ

J

œ.œ .œ œ œ œ œ œn

œ .œ

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.œ

J

œ œœ

44. Buffalo Gals, a fiddle tuneœ œ

˙œ œ

œ œ œ œ œ œ˙

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J

œ œœ

45. Beethoven: Sonata Op. 2, No. 3, Movement II, modified. Melody ends on ^2

Original:

C. Approaching 5

œ œœ

œ œ œ œ œ w

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˙ .œ œ œ œ.œ

j

œ

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œ œ œ œ.œ

J

œ œ œ œ œ˙

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6 œœ œ œ œ œ œ

46. Gm D7

Gm: i V7

œ#œ œ .œ

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bb

œ œ œ œ œ œ œœ

œCm/Eb Gm/D D7 Gm

iv6 i@ V7 i

V

- 10 -

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DEBENEDETTI: CONTEXTUAL MELODIC DICTATIONS, SET THREE


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47. Vivaldi: Violin Concerto Op. 3, No. 9, Movement 3, Excerpt begins on 5.

Original:

œ œ œ œ œ œ œ œ œ œ

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œ œ œ

48. Beethoven, Violin Concerto, Movement III. Introduction is from later in the movement.

œ œ œ œ œ œ œ œ œ œ

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6‰ ‰

j

œ j

œ

‰

j

œ

Introduction:

Original:

j

œ

‰

j

œ j

œ

‰

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œœ

j

œœœ

œœ

j

œœœ œ

œ

j

œœ

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j

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‰ j

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j

œœœ

œœ

j

œœœ œ

- 11 -

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DEBENEDETTI: CONTEXTUAL MELODIC DICTATIONS, SET THREE


contextual melodic dictations - g major music theory 6œ.œœœ 19. set 2. intervals in the tonic...

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