This third lesson built on the Kodály hand signs of lesson 1 (Clark) and the harmonic units/progressions of lesson 2 (Ruippo). In developing fully integrated listening/composing/performing skills, it is essential that the vertical and horizontal roles of pitches and chords be understood. The ability to hear and feel melodic line, harmonic units, and harmonic implications must be addressed progressively and in a variety of styles.
Scale degree three, for example, takes on very different color and motion characteristics under different conditions. Mi, for example, has distinctively different feelings, melodic needs, and harmonic direction as the root of a mediant triad, the 9th of a supertonic chord, the 13th of a dominant structure, or the 3rd of a tonic triad. Throughout this lesson plan, the melodic pattern of Mi - Re - Do was combined with increasingly complex harmonic progressions and reinforced by hand signs and visual notation patterns (in ArKaos VJ software).
Melodic Development and Memorization was addressed by using a simple folk song as a foundation:
Converting melodic contour into harmonic understanding can be very successfully addressed through harmonic singing. In this exercise, each melody note, mi, re, and do, becomes the top pitch in a harmonic unit. Students are to use solfège and hand signs. The ArKaos VJ keyboard is used for visual reinforcement.
Gradually increase the speed of each unit to "feel" the harmonic implication. If time permits, discuss what kinds of music (classical, rock, folk, etc.) that use the I - V - I progression. If possible, cite specific works.
Use Arkaos VJ and MIDI keyboard pitch to support the I - V7 - I progression focusing on the melodic m - r - d pattern. Also emphasize the "feeling" tonic - dominant - tonic pattern. Is it strong, weak, or predictable? What physical or psychological reaction does it create? While the answers and reactions will vary from person to person, it is important to examine how patterns function, how we react to them, and what kinesthetic responses they generate.
Compare the previous I - V7 - I progression to iii - V7 - I (add 6) - still with m - r - d melody. Note how the iii chord assumes a weaker, more ambiguous feel and the color is softer than the I chord. Ask what style of music might use this progression. The use of the added 6th with the I chord begins to suggest more popular music or jazz-related styles.
Sing and use hand signs as the progression is performed. Discuss the increasing level of density in the progression. Ask if the student can "feel" the melody notes of mi, re, and do assuming different or more subtle colors. Also continue to emphasize the need to feel chord factors within harmonic entities and line. We must be continually aware of the simultaneous vertical and horizontal facets for each chord factor.
Follow the same directions as in E above bringing special attention on the dramatically different role of mi - re - do given the new harmonic context. Some students describe feeling more tension or seeing richer, more vibrant colors.
Emphasize the increased density and weight of the dominant complex chords. Be sure to sing and sign the patterns slowly enough to reinforce the mental and physical interrelationships of the melodic and harmonic units. If time permits, discuss the kinds of music or composers who employ these kinds of harmonies.
Return to Mary Had A Little Lamb singing melodically, but "imagining" different harmonic progressions from the examples above. If time permits, sing the progressions harmonically (still using mi - re - do as the first pitches in each unit), imagining and internally feeling the progression, then singing the patterns again. If at all possible, having a keyboard for the student to play the progression as a fouth step would be highly desirable.
If time permits, show how the above harmonies and the m - r - d melodic pattern can be used in aural/visual improvisations with ArKaos VJ.
Summarize how feeling, analysis, performance, harmonic singing, and melodic/factor recognition are powerful tools in developing an intelligent, integrated musical understanding. We must continually strive to deepen our knowledge of aural/visual harmonic recognition, develop rapid and native recognition of chord factors, and add to the reserve of progressions and patterns which form our musical vocabulary and personality.