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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