Compare all chords starting on the same note. When diminished 7ths are included, start with comparison between minor and diminished 7ths.Ĥ. When comparing triads and dominant 7ths listen to the number of notes played (3 or 4).ģ. When dominant 7ths are included, start with comparison between major and dominant 7. For major and minor triad identification, start by focusing on the difference between -3 and +3 intervals and then move to triads.Ģ. When differentiating between final cadences (Perfect or Plagal) in a minor key, the second last chord is minor in Plagal cadence but major in a Perfect cadence.ġ. ARCT level chord progressions: when identifying the I, II, IV, V, and VI chords, listen to only the root note of the chord rather than the full chord.Ħ. Start by comparing cadences that have descending bass notes then cadences with ascending bass notes before mixing ascending and descending.ĥ. If you are having trouble distinguishing final cadences remember that the leading note rises in the Perfect Cadence so…. A Perfect Cadence descending is a perfect 5th (Flintstones) and Perfect Cadence ascending is a Perfect 4th (Amazing Grace).ģ. Listen to bass notes as upper notes may be in any inversion. Remember that Perfect (Authentic) and Plagal Cadences are final cadences and sound finished, while Imperfect (half) and Deceptive Cadences sound unfinished.Ģ. Listen carefully to the tonic chord as this sets the tonality for the cadences. For example the RCME and RACE introduces at Grade 4, sixteenth notes in 6/8 time, at Grade 5, dotted eighth notes and sixteenth rhythms, at Grade 6 ,sixteenth and eighth combinations in 3 /4 and 4 /4 time, and at Grade 7, triplet eighth notes.ġ. Special attention should be paid to ensure that you have a theoretical understanding of these rhythmic concepts before starting the rhythm clap backs. New rhythmic elements are introduced at different grade levels. Break the concepts into smaller parts- start by clapping rhythms then move to rhythm played on single note and finally to the rhythmic exercise with a melody.Ĥ. Often melodic-rhythmic passages (such as those given at exams) have too many elements to analyze at one time and it is easy to be overwhelmed. Listen for emphasis on the first beat of each measure.ģ. Sing the tune then clapping or tapping the rhythm. Start by beating time with the music to find the rhythmic pulse. Start with sight reading blank rhythms first and then move to simple rhythmic dictation.Ģ. You need a firm grasp of note values and their relationships. When both parts must be played back, listen for parallel and contrary movement of parts and reinforce that the basic rules of harmony apply (cadence at end, use of common progressions, etc.)ġ. As it is easier to hear the different voices when they are further apart, play the 2 part melody separated by an octave apart when starting.ġ0. This will help to separate the single interval sound into two pitches.ĩ. Prior to starting 2 part melody exercises, practice listening to harmonic intervals (2 notes played together) and sing back the top or bottom note. For example: Grade 5 RCME and RACE adds the upper tonic note to the first five notes of the scale.Ĩ. Pay special attention to any new elements added for each grade level. Singing the melody helps to reinforce the “memory” required to play back a tune successfully.ħ. To reinforce the concept shapes in music, listen and draw a line to indicate the changes in pitch.Ħ. What are the rhythmic patterns? Are they repeated?ĥ. Which direction do the notes move? Do the notes move by step or larger intervals? Are the notes repeated? Are melodic patterns repeated a step higher or lower?Ĥ. Form a mental image of the instrument and try to “play along” (move your fingers)ģ. Most important is to retain a “visual memory” of the note movement.Ģ. Click on the exercise listed to take you directly to’ Tips’ for that area!ġ.
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