Solfge Lesson Number One Tetrachords in Major ModeJohn R. Stevenson, Diplme Superior Jaques-Dalcroze

OBJECTIVE To build doh-to-doh (d-t-d) scales by way of the four tetrachords found in major mode.

BACKGROUND INFORMATIONChord-Classes To better understand the placement of the half and whole tones in each scale, Dalcrozians work through a series of chord-classes containing either two pitchesdichords (two strings), three pitchestrichords (three strings), and four pitchestetrachords (four strings). Each chord-class contains adjoining pitches composed of three varieties of tones; a half-tone, whole tone, or an augmented 2nd. The augmented 2nd is found only in harmonic minor mode. The larger chord-classes, pentachord, hexachord and heptachord, are studied in preparation for triads and seventh chords, together with their inversions and resolutions.

Chord-classes are labeled in three ways. First, by an Arabic number (2, 3, 4, 5, 6, 7) representing the number of pitches contained within the chord-class. Second, by a Roman number (I, II, III, IV, V, VI, VII) representing the placement on a given scale degree. Third, by Ancient Church Mode names (ionian, dorian, phrygian and lydian) representing their structure. These labels are applied to all chord-classes except for the dichords. Dichords are labeled major, minor or augmented.

These Greek names are the same used to describe the ancient church modes. These ancient terms are taken from various regions in or around Ancient Greece. There is no evidence that Jaques-Dalcroze nor any of his first generation students used these terms to describe the structure of the chord-classes. However, the labels are most useful and help to avoid confusion between Arabic and Roman numerals. It is recommended that the Greek terms be taught and used from the start. Using them will be most helpful especially when teaching the d-t-d scales, triads, and seventh chords.

Tetrachords

There are four tetrachords found within the major scale, ionian, dorian, phrygian, which outline the perfect fourth, and lydian, which encompasses the augmented 4th or tritone (three whole tones or six half tones).

Ionian

Dorian

Phrygian

Lydian

IV

IIVI

IIIVII

IV

W-W-H

W-H-W

H-W-W

W-W-W

la si doh# r

si doh# r mi

mi fa# sol# la

fa# sol# la si

doh# r mi fa#sol# la si doh#

r mi fa# sol#

Tetrachords in Major Mode

I - II - III - IVV - VI - VII - I

II - III - IV - VVI - VII - I - II

III - IV - V - VIVII - I - II - III

IV - V - VI - VII

TypeScale

Degree ConstructionPitch

Placement Functionla major in any major mode

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The first step in this lesson is to provide students the ability to identify each tetrachord by name and to sing each tetrachord from any given pitch up or down first by Roman numerals (function numbers), and then by pitch names using the Latin syllables or letter names (pitch-placement).

Study the above tetrachord chart. It describes all the information necessary to achieve this goal. Eventually, students will build each d-t-d scale by placing one tetrachord upon the other and linking them with either a whole or half-tone just as the following d-t-d scale chart illustrates.

Major

&Doh

I4

4

4 4 4 4

4 4 4

4 4 4

W

V

# Sol

IV

H

I

#R H ### La W

VII IV III VII

###Mi

VI

W

III

#####Si

II

W

VI

#####Fa

V4

# W

II4

#######Doh

I4

# W

V4

&bbbbbbbDohb W bbbbbb

Solb H

&bbbbbR b H bbbb

Lab W

&bbbMi b W bb Si

b W

&bFa W Doh W

#

# # # # #

# # # # # # # # #

# # # # # # # # # # # # # # #

b b b b b b b b b b b b b b b

b b b b b b b b b

b b b b b

I4 4 4 4

V IV I

4 4 4 4VII IV III VII

4 4 4 4VI III II VI

V4

II4

I4

V4

= Tonic 4 = Tetrachord built on the above function.

doh-to-doh Scales

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The tonic is colored blue, and the subscript 4 under the roman numeral indicates that a tetrachord is built up from that function. Also, the bracket placed between the two tetrachords indicates the type of tone (step) used to connect the two tetrachords. Note that the tetrachords are joined by whole tones except for four keys, sol, r, solb, and rb.

ProcedureNote: This lesson is presented in doh Major but may be presented in any tonality chosen by the teacher.PART I Rote Song

1. Teacher improvises modulating to a variety of keys.2. The students listen for the changes in modulation as they step the beat and/or clap the crusis. 3. Once each new key is established, and upon a given command by the teacher (hop, hip), the students

sing the new tonic on a neutral syllable. Repeat as needed.4. The teacher arrives at a given key (doh major), the students are asked to continue to step the beat as

they listen to a given song that they will learn by rote.

5. The song is taught phrase by phrase using function numbers (I II III etc.) The students are to discover the meter, and use arm beats as they step the rhythm of the song. a. Once the song is memorized the teacher may ask the students to sit and sing the melody using

pitch-placement in the key of doh major.

{{

Voice

Piano

mp mf p

Voice

Pno.

mf p

rit.

mp p

rit.

44

4444

&JOHN ROBERT STEVENSON

tude No. 2

&?

&

&?

# n

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a. For more advanced students, the teacher may ask the class to transpose the melody to fa, sol, lab, or any tonality the students have already studied. Note that the function numbers will remain the same but the pitches and their names will change.

Part II Scale1. The teacher then asks the students to discover which phrase in the Rote Song houses the entire doh

major scale. (Answer: phrase two).2. The students will sing the scale form d-t-d, repeating several times.

a. It is recommended that the teacher harmonize the scale so to eliminate any ambiguity concerning the function of each pitch.

3. As the scale is harmonized, the students are asked to sing the scale using the rhythm as written in the above illustration using function names then using pitch-placement. Do not have the students sing the cadence at this point. Gradually, the piano is phased out as the students sing a cappella.

a. It is recommended that the students go to the piano and learn to play the scale hands alone using the correct fingering as notated in the above illustration. This practice helps to link the ear, eye, and hand so that the students learn to hear what they see, and play what they hear.

PART III Discovering Tetrachords1. The scale is sung as shown above, (again no cadence yet) and the beat or the rhythm pattern may be

stepped forward as the scale rises and backward as the scale falls. a. At hop the students may alternate between stepping the rhythm to stepping the beat.

2. As the students sing and step the beat, they are asked to proceed only to pitch IV and return to tonic (I, II, III, IV, III, II, I). Repeat as needed. a. The students may continue to step forward and backward as they sing but, change direction on

each crusis.3. As the students continue to sing, they are asked to begin at II and return at V then to sing from III to

VI, IV to VII, V to II, VI to III, and VII to IV. Repeat each tetrachord as needed.

Quick Reaction Exercise No. 1A quick reaction exercise is generated by asking the students to sing any of the four tetrachords as they are called out at random by the teacher. The teacher may also change the rhythm pattern of the tetrachord to h q q dactylic, q q h anapest, h. q trochaic or q h. iambic as part of the quick reaction exercise. (These modes will appear in the piece presented at the end of the lesson.) The exercise should then change from function to pitch-placement. See the following example.

IdohC

IIrD

IIImiE

IVfaF

VsolG

VIlaA

VIIsiB

IdohC

VIIsiB

VIlaA

VsolG

IVfaF

IIImeE

IIrD

IdoC

IVfaF

IIImiE

VIIsiB

IdohC

44&1 2 3 1 2 3 4 5 4 3 2 1 3 2 1

doh major

Fingering

Function

Pitch-Placement

doh-to-doh Scale Ucadence

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4. The students may sit to discus which pitches, and which functions form the two minor dichords or half tones. In each tetrachord, the half tones are found at IIIIV and VII or at mifa and sidoh).

5. The teacher now introduces the cadence as notated at the end of the scale in the above illustration. The students sing the scale with the cadence. Repeat as needed, and review any scales the students many have already learned.

PART III Working with Hand Signs The hand signs or hand tetrachords are introduced by the teacher with emphasis on the placement of the half-tone in each tetrachord. This concept will become crucial when we shift form singing scales from tonic to tonic to singing them d-t-d. The half tone is indicated by placing two fingers together and the whole tone is indicated by a separation of the fingers as pictured in the drawings below. The teacher then points to each finger eliciting a pitch or function response from the students as pictured in the first illustration. Its a good opportunity for melodic improvisation using the various tetrachords. This takes some practice so introduce the tetrachords in sequential order with the Greek name, its possible corresponding Roman

IV V VI VII VI V IV

&Students:

Teacher: II beat

Teacher: IV beat

II III IV V IV III II

&Students:

Teacher: VI dactylic

III IV V VI V IV III

&Students:

Teacher: Vtrochee

V VI VII I VII VI V

&Students:

Teacher: VII iamb

VII I II III II I VII

&Students:

etc.

Quick Reaction Exercise

VI VII I II I VII VI

&Students:

t

Teacher III anapes:

tetrachords

fa sol la si la sol fa

r mi fa sol fa mi r

la si doh r doh si la

mi fa sol la sol fa mi

sol la si doh si la sol

si doh r mi r doh si

function & pitch-placement

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numerals, and the possible pitch names within a given key (doh major). (see tetrachord chart above) Be certain that the students sing the tetrachords from the top down as well as from the bottom up.

Keep in mind that there are two ionian, two dorian, and two phrygian and one lydian tetrachords in any given major scale. Therefore, the teacher can use the left hand for tetrachords built on I, II, III, and use the right hand for tetrachords built on V, VI, and VII. The tetrachord built on IV can be signaled with either hand since there is only one lydian tetrachord in the scale. Now, the teacher can switch between hands as the students sing either the pitch names or the function numbers.

Ionian is sung as I, II, III, IV on the teachers left hand and V, VI, VII, I, on the teachers right hand. The students may respond with pitch names in any given major key.

Dorian is sung as II III IV V on the teachers left hand and VI VII I II on the teachers right hand. The students may respond with pitch names in any given major key.

Phrygian may be sung as III IV V VI on the teachers left hand and VII I II III on the teachers right hand. The students may respond with pitch names in any given major key.

Lydian is be sung IV V VI VII on either hand. The students may respond with pitch names in any given major key.

At this time, the teacher may ask for student volunteers to lead the class creating another improvisation. Students may also form small groups or find a friend to form a one-on-one session to practice using the hand tetrachords with each other. The students should be encouraged to go to the piano and play the various tetrachords at the keyboard. They will find that there is a

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relationship between the shape of their hand and fingers to form the hand tetrachord and the shaper of their hand as they play the tetrachord at the keyboard.

Part IV Stacking Tetrachords Once the students are comfortable with singing the various tetrachords in different keys, and using the hand signs, the teacher may begin stacking one tetrachord on top of the other. Since stacking is designed for the sole purpose of singing the d-t-d scales, the bottom note of the stack is either doh natural, doh sharp, or doh flat. By stacking two ionian tetrachords on doh natural for example, the students should respond by singing the doh major scale. However, if the teacher were to stack an ionian (I) upon a lydian (IV), again on doh natural, the students should respond by singing the sol major d-t-d scale. The chart describes the correct stacking of tetrachords in order to form each major d-t-d scale. Keep the lower tetrachord in the left hand and, the upper tetrachord in the right hand as in the previous exercise so that it mimics the hands at the keyboard. The teacher should keep in mind that there is a whole tone between the

tetrachords with the exception for the sol, solb and r, rb scales where a half tone joins the two tetrachords. Therefore, for those four keys the teacher must be sure to touch the little finger of the left hand to the index finger of the right hand to form the half tone between the fas and sols. The exercise may proceed as follows:

The teachers sings on doh natural: V The students reply by singing:

V VI VII I - II III IV V - IV III II - I VII VI V (cadence) IV III - VII I

The teachers then sings on doh natural: doh naturalThe students then reply by singing:

doh r mi fa - sol la sib doh - sib la sol - fa mi r doh (cadence) sib la - mi fa If the teachers sang on doh#: doh sharpThe students would respond:

doh# r# mi# fa# - sol# la# si doh# etc. (cadence) si la# - mi# fa#

The following chart may help the students learn which doh is used to sing each major scale. Eventually, the students will begin to recognize the exact beginning doh and sing the scale without the teachers help.

Gradually, the teacher drops the use of function, and simply sings the appropriate doh. Now, the students are more dependent on the hand signs for arriving at the correct scale. It also requires them to think the function numbers as they sing the pitch names. Its important that the teacher focus

r mi la si fa dohb

Beginning doh

n# ##doh sol fa mi si la rb b b bsol doh

major mode

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LowerTetrachordleft hand

Upper Tetrachordright hand

The Major Scale

I V doh dohb doh#

IV I sol solb

VII IV r rb

III VII la lab

VI VII mi mib

II VI si sib

V II fa fa#

the class on the new placement of the two minor dichords by having them sing the cadence at the end of each scale. The knowledge of their placement is vital for improvising melodic and harmonic modulations.

Part V Conclusion The teacher may now introduce a musical selection that includes tetrachords and the outlining interval, fourths. The suggested piece is form Trent Lessons Mlodique de Solfge, by Emile Jaques-Dalcroze. These pieces have been remastered and republished in the United States by Musikineses, Ellicott City, Maryland. These pieces are small musical gems that M. Jaques wrote purposely for the study of phrasing, meter, rests, rhythm, and nuance. However, the pieces are also useful for studying various intervals and chord-classes, i.e., dichords, trichords, tetrachords, pentachords, hexachords, and heptachords. The pieces also work on chromatics and chromatics and the best part is that the accompaniments are easy to play and quick to memorize Number 16 was chosen because it is in doh major, the primary tonality of the lesson, it contains all four types of tetrachords, ionian, dorian, phrygian, and lydian (meas. 36), and the piece contains all the intervals of the major scale including the M7. This piece serves well to give students the experience of the larger intervals before actually studying them, and it also highlights the dactyl e xx, anapest xxe, and trochaic e. x rhythm modes. Rests are also presented in this piece as it is in all thirty lessons.

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Trent Leons Mlodique de Solfge, Emile Jaques-DalcrozePublished in 2004 by MusiKineses, Ellicott City, MarylandCopyright 1936, 2004 by Alphonse Leduc & Cie. Editions Musicales, 175 rue Saint-Honor, Paris

Suggestions For a Procedure Note: Its best if the teacher waits to present the written score after the students have discovered and clearly understood all the focal points of the lesson that exist in the composition. This way the score can serve as an image of what has already been experienced. The teacher should perform the piece without the aid of any recordings. Its important for students to see their teacher display the same skills the students are asked to obtain. A live performance, just like the teachers improvisation, makes the experience more organic and more human, which is always viewed as a gift offered to the class.

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1. The teacher asks the students to sing the doh major d-t-d scale (the tonality of the piece) including the cadence.

2. The teacher may present the piece first by playing the accompaniment, and singing the melody with the names of the notes. The students simply listen. Repeat as needed.

3. On the next performance, the students conduct the meter, and listen for any tetrachords that may be recognized in the melodic line. (See measures 10-11, 22-23, and 35-36.) Repeat as needed.

4. On the next performance, the students are asked to listen for raise their hands when they hear the sequence of trichords.

Note: All the material in these two lessons is taken form my latest textbook on Jaques-Dalcroze Solfge, Pursuing a Jaques-Dalcroze Education Solfge. It is slated for publication with Apple Inc., and will be available at the iBook Store soon. It is an interactive text formatted for the iPad and iPhone. It is complete with demonstration videos, and music exercises, music examples, and music illustrations that play with the touch of a finger. The material is structured primarily for a four-semester professional Dalcroze students curriculum, and the professional music school students two-year ear training curriculum. However, it may be easily adapted for students at various levels of aural development. All the material in the text has been used with my own students over the course of many years.

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