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Objectives
Students will criticize simple melodies using the composition rules RHCLT
Students will be able to describe the melodic composition rules through RHCLT
Students will begin composing simple melodies using the RHCLT rules
Materials
Dry erase board and markers; Copy of Tonal Harmony; piano/keyboard
Ask the students to look in their books and for someone to raise their hand and tell
me what “Happy” actually stands for
Erase Happy and replace with Harmony
Ask students for a volunteer to read #2. Harmony
As student reads be prepared to write down: every note should belong to
the chord harmonizing it
Let’s unpack that – what does it mean? We have been analyzing and identifying
chords for a while now. We know that only certain pitches exist in each chord. If
there is a chord symbol in this key, we know which pitches belong to that chord.
Do some examples:
In the key of F, what is the vi chord? In the key of D, what is IV?
In a melody we can only choose from the pitches that exist within the
chord at the bottom
C
Chickens -> Contour
Ask the students to look in their books and for someone to raise their hand and tell
me what “Chickens” actually stands for
Erase Chickens and replace with Contour
Ask students for a volunteer to read #3. Contour
As student reads be prepared to write down two things: conjunct, and focal
point
What does conjunct mean? Stepwise… What does that mean? Move mostly by
half or whole steps - what is the opposite of a step? (Leap) What is a leap? We
will talk more about leaps in a second.
What is a focal point? – the book claims highest note in the melody – how many
should there be?
Take a look at the three melody examples in the book on page 78
(examples 5-1)
Play them and talk about faults or if they are good
L
Love -> Leaps
Ask the students to look in their books and for someone to raise their hand and tell
me what “Love” actually stands for
Erase Love and replace with Leap
Ask students for a volunteer to read #4. Leap
As student reads be prepared to write down three things:
Augmented/Diminished, larger than P4 approached and left in opposite
direction, and consecutive leaps in same direction must outline a triad
There is a lot to unpack in this one!
Dylan Keiser
A) What is the list of no-no intervals? – augmented, 7ths, 8ths and larger
Diminished is only allowed in this one case – stepwise motion
down immediately afterwards
B) Re-read “b.” what must you do to write an interval greater than a P4?
Write down an example or two – motion looks like a zig-zag.
C) What does the word consecutive mean? In a row is an easy way to
think about it.
What is “outlining a triad?” – write a few examples
T
Taffy -> Tendency Tones
Ask the students to look in their books and for someone to raise their hand and tell
me what “Taffy” actually stands for
Erase Taffy and replace with Tendency Tones
Ask students for a volunteer to read #5. Tendency Tones
As student reads be prepared to write down two things: 7 to 1 (unless 1-7-
6-5), and sometimes 4 – 3
This is a very straight forward rule… But what is 7? Scale degree 7, the leading
tone: what is 7 in Bb? What is 7 in F#?
4-3 is not necessary, unless specific chords and situations arise - vii◦, 4 goes to 3,
and in V7, 4 goes to 3. Otherwise, there is not a problem.
Take a look at the melodies on page 79 – discuss through the problems with 5-2 b.
Criticize a melody together at the end of class
Assessment
Informal and throughout – Make sure students are taking notes; there is a lot to take in!
Homework on Analysis will be collected Monday
Closure
RHCLT!