Seventh Chords: Landscaping
Goal: To prepare seventh chords melodically and harmonically (V7, half diminished seventh, and fully diminished seventh).
Out of Tempo
All Levels
“Out of Tempo” exercises are not presented separately in Ear Training III and Ear Training IV improvisations. Should any exercise prove difficult performed in tempo, out of tempo versions of the materials in Ear Training III and Ear Training IV can be modeled on Ear Training I and Ear Training II approaches to out of tempo improvisations.
In Tempo
Teacher sets up a tempo, time signature, tonality, and rhythms.
Phrases can be four to thirty-two measures in length depending on the student’s ability.
Start with one note per measure and add different rhythms as students become more comfortable with the exercise. For more confident students, use non-repeating notes and rhythm patterns.
Students sing one, two, three, or four notes per measure.
Speaking, singing, playing.
Refer to the Seventh Chord Smorgasbord for ideas.
Prior to beginning each exercise, have a review of which chromatic notes are needed to change to closely related keys.
Beginning
Using an electric keyboard or another instrument to sustain the seventh chord.
- Teacher sets up as above and prompts, “Sing the fully diminished, half diminished, and dominant seventh on the same bass note up and down, then resolve to the tonic.” For example: CEbGbBbb/BbbGbEbC; CEbGbBb/BbGbEbC; CEGBb/BbGEC; F
- Students do so.
Intermediate
- Teacher sets up as above and prompts, “Sing the fully diminished, half diminished, and dominant seventh starting at the top note down and back up, then resolve to the tonic.” For example: BbbGbEbC/CEbGbBbb; BbGbEbC/CEbGbBb; BbGEC/CEGBb; (AG)F
- Students do so.
Advanced
- Teacher sets up as above and prompts, “Sing the fully diminished, half diminished, and dominant starting on the third or fifth, sing up and down, then resolve to the tonic.” For example: GbBbbEbC/CEbBbbGb; GbBbEbC/CEbBbGb; GBbEC/CEBbG; (AG)F
- Students do so.