Building Better Dictation Skills - Softcover

Buonviri, Nathan O.

Softcover

ISBN 10: 1475813929 ISBN 13: 9781475813920

Publisher: Rowman & Littlefield Publishers, 2015

Synopsis

Melodic dictation plays an important role in music theory classes, but instruction is often based on tradition rather than research. Dictation teachers and students do not just need more exercises and drills; they need to see deeper into the materials, consider how we connect to them, and practice wisely. Building Better Dictation Skills offers teachers and students the “why” and “how” of melodic dictation, through research-based exercises aimed at developing proactive musical listening. During dictation, students must actively involve themselves in the unfolding of an unfamiliar melody―using all of their musical skills in a concerted effort―to get into the composer’s mind and understand what is played. The author’s published research, on which this book is based, provides a level of insight unlikely to be discovered simply through drilling more melodies. Building Better Dictation Skills provides music educators and students with a concise, specific, and affordable resource that focuses on what they really need: dictation strategies aimed at learning beyond the “right answer.”

About this title

About the Author

Nathan O. Buonviri is an Assistant Professor of Music Education at Temple University in Philadelphia, PA. He has published in the top research journals in his field, and has presented papers and workshops across the United States and around the world on aural skills training, percussion pedagogy, and instrumental improvisation.

Excerpt. © Reprinted by permission. All rights reserved.

Building Better Dictation Skills

By Nathan O. Buonviri

ROWMAN & LITTLEFIELD

Copyright © 2015 Nathan O. Buonviri
All rights reserved.

ISBN: 978-1-4758-1392-0

Contents

FOREWORD, ix, 
INTRODUCTION, xi, 
PART I — ATTENTION DIRECTION, 
1 MENTAL PREPARATION, 3, 
2 THE BIG PICTURE, 13, 
3 IGNORING EXTRANEOUS INFORMATION, 23, 
PART II — TASK PRIORITIZATION, 
4 PITCH AND RHYTHM, 31, 
5 CHRONOLOGICAL DECISIONS, 35, 
6 CHANGING PRIORITIES, 47, 
PART III — SKILLS COORDINATION, 
7 INCORPORATING MUSICAL SKILLS, 55, 
8 NOTATION STRATEGIES, 71, 
9 MUSICAL PROOFREADING, 85, 
10 POLISHING YOUR PERSONAL APPROACH, 93, 
APPENDIX A — ANSWER KEY, 111, 
APPENDIX B — BRIEF DESCRIPTION OF THE, 
RESEARCH BASE, 139, 
GLOSSARY, 141, 
ABOUT THE AUTHOR, 143, 

CHAPTER 1

MENTAL PREPARATION

Success with any time-sensitive task requires a strong beginning. Melodic dictation is no exception. Successful dictation takers begin the race not from a cold start, but already in full stride.

How do they accomplish this? They use all clues given to generate a mobile, mental, musical context on which they can pin aural information from the target melody. Number of measures, time signature, key signature, orienting key sequence, orienting beat count — all can be incorporated into a thorough, vibrant mental readiness for the task. Sometimes, not all of these clues are granted beforehand; other times, even more are granted (e.g., starting pitch or pitches). The point is to use everything available to prepare yourself.

MELODIC SPACE

The number of measures, combined with the given time signature, defines a crucial piece of information for the listener: the distribution of space into which the melody will fit.

The concept of space can be understood here both literally and figuratively, as the space available on the answer sheet and the real-time temporal space in which the melody sounds, respectively. These two concepts of space present a potential conflict, in that they do not necessarily parallel each other. For example, four measures replete with sixteenth notes in 3/4 meter might be played in less time than four measures of quarter notes in 4/4 meter but require more physical space for writing. Listeners cannot know ahead of time the rhythms that will characterize the melody, but they can use the particular space allotted to establish and maintain metrical and rhythmic context during the task.

Go to the next page to begin Exercise 1.

Exercise 1

Answer the questions below the staff as quickly as possible.

1. How many total beats does this example contain?

2. How many beats would you expect in the first phrase of a typical melody on this staff? The second?

3. How many eighth notes can be fit into the first measure of this melody? Imagine how this would look on the staff.

4. How many sixteenth notes can be fit into the third measure of this melody? Imagine how this would look on the staff.

5. Imagine three different combinations of eighth- and quarter-note rhythms that could fit into the second measure of this example. Which of your combinations seems most likely to occur in a typical melody?

6. Imagine three different combinations of eighth-, quarter-, and half-note rhythms that could fit into the last measure of this example. Which of your combinations seems most likely to occur in a typical melody?

Check your answers to these questions in the back of the book.

The questions in Exercise 1 target specific approaches to understanding dictation space, but they also lay the foundation for an important concept throughout this book: dictation requires process of elimination. The "masters" in the research study undertook a constant stream of decisions to discard incorrect choices and arrive at a polished product: Skip or leap? Up or down? Eighths or sixteenths? Fourth or fifth? Plagal cadence or full? This stream of decision-making provides a viable, dependable plan of attack, so that once incompatible options have been discarded, the "musical truth," as one of the masters described it, simply becomes evident.

KEY SIGNATURE

Just as the number of measures and the time signature define horizontal space through metrical organization, the key signature defines vertical space through pitch organization.

Clues for dictation students abound: the two most probable pairs of tonic and dominant notes (dependent on whether the melody is in major or minor); the commonly functioning chords most likely to be implied by the melody; cadential and other typical melodic patterns in the given key; and potential accidentals most likely to play a role in the melody.

If the mode of the melody is established only through the first playing of the melody itself, you will have to make quick decisions about all of these factors while listening.

Therefore, it is worth the effort to consider the potential highlights of both major and minor possibilities for any given key signature prior to listening. If the mode is established aurally beforehand, or even stated verbally, you can prepare yourself more easily by considering those highlights in the designated mode.

Go to the next page to begin Exercise 2.

Exercise 2

Answer the questions below the staff as quickly as possible.

1. What are the two most likely keys represented by this key signature?

2. Where on the staff is the tonic pitch of each, in two octaves? The dominant pitch?

3. If the melody is in major, where are the pitches of the tonic triad? The dominant triad? The subdominant triad?

4. If the melody is in minor, where are the pitches of the tonic triad? The dominant triad? The subdominant triad?

5. If the melody is in minor, where would the raised seventh scale degree be? The raised sixth? Which symbol is needed for those accidentals?

6. Where is the most likely location for a half cadence? If the melody is in major, which pitches would likely be in the resolution of that cadence? In minor?

7. Where is the most likely location for an authentic cadence? If the melody is in major, which pitches would likely be in the resolution of that cadence? In minor?

8. How many eighth notes can be fit into the first measure? Imagine how this would look on the staff.

9. How many sixteenth notes can be fit into the first two beats of the third measure?

Imagine how this would look on the staff.

Remember to check your answers to these questions and all exercises in the back of the book.

The questions in Exercise 2 again help you to prepare for process of elimination in tackling the melody. Notice that the questions encompass both pitch and rhythm material.

With two visual dimensions of horizontal and vertical space now flexed and ready, we move to aural clues in mental preparation prior to listening.

ORIENTING CHORD SEQUENCE

Melodic dictations are often preceded by a common sequence of chords (e.g., I–V7–I) to establish the key of the example aurally. Depending on the routine, you can garner important musical information from this sequence, including mode, tonic pitch reference, dominant pitch reference, and tempo. More important, making this information "come alive" on the staff will help you to transfer the dictation melody to notation more easily.

Go to the next page to begin Exercise 3.

Exercise 3

Note: If any of the examples in this exercise are difficult for you to play, take your time and repeat them as many times as you wish. You can also work with a partner or teacher.

Play this orienting chord sequence at the piano.

Now, look away from the chord sequence, play it again, and imagine the chords on this blank staff.

Now, play the chord sequence in E-flat major, and imagine the new chords on this blank staff.

Play the first five notes of the ascending scale in E-flat major. Imagine them on the staff above. Then write them in quarter notes and a whole note.

Now play those first five notes in the key of D major. Imagine them on the staff below.

Then write them in the same way.

Last reminder to keep checking those answers in the back of the book!

The ability to transpose simple musical ideas fluently from key to key ultimately provides a big boost during dictation. Typically, the ears have been trained to hear dictation patterns within tonal context, relating what you hear to the tonic. The mind is calculating the relationships among the sounds it hears, based on its repertoire of familiar sounds and how they are used in various contexts. A melodic dictation triggers that familiarity, and the mind begins to piece it all together. If your mind has had a chance to play with its store of familiar ideas in multiple keys, then the transfer of what you hear into notation in a designated key will pose little problem during dictation.

ORIENTING BEAT COUNT

If orientation to the meter or pulse is provided through the chord sequence, or through a count-off or similar cue, similar recommendations apply. The mind accesses its store of familiar patterns within metric and rhythmic contexts, and the more of those that have been experienced through practice, the better. For example, the same short scale pattern in a major key can sound quite different when heard in 3/4 as compared to 4/4 meter.

By practicing altering the metric and rhythmic contexts of familiar patterns, you can eliminate the surprise factor during dictation.

Go to the next page to begin Exercise 4.

Exercise 4

Sing this melody as written.

Now change the rhythm of this melody (but not the pitches) to collapse it into four measures of 3/4. Use only quarter notes and pairs of eighth notes to create a convincing, logical rendition that sounds natural in the new meter. Work out your variation completely with your ears and voice first, then notate it below.

Sing your new melody back to yourself.

Now sing the melody below.

Change the rhythm of this melody (but not the pitches) to expand it into four measures of 4/4. Use only quarter notes, half notes, and whole notes to create a convincing, logical rendition that sounds natural in the new meter. Work out your variation completely with your ears and voice first, then notate it below.

Notice that Exercise 4 focuses on your ability to engage the melodies actively by manipulating them as a composer or arranger would. This is one of the central benefits that dictation study can contribute to your overall musicianship: You become an active participant, rather than a hopeful recipient, when writing the target melody. To fully enjoy this benefit, spend focused time experimenting with melodies like you did in Exercise 4. Transforming familiar tunes in various ways is a great place to start. Make a smooth melody choppy, a short melody longer, or a sad melody happy. Doing so will increase your fluency with melodic materials and prepare you to take dictation of unfamiliar melodies.

STARTING PITCH OR PITCHES

For some dictations, a starting pitch or pitches are given. If you are fortunate enough to receive this information, by all means put it to use! Incorporate that information to begin making deductions about the rest of the target melody. Consider what is most likely to follow, in both pitch and rhythm, based on what you have learned from tonal music theory principles. This speculation is worthwhile not only for success with dictation but also for developing the sort of musical thinking that improvisers and composers, for example, engage constantly.

In fact, some of the exercises you have completed in this chapter may seem like improvisation exercises. They are. Think about it: If you can learn to imagine and create fresh musical ideas on a regular basis, you will be much more prepared to field an incoming musical curveball during dictation. Approach dictation as a way to improve your overall musicianship, not just your daily quiz grade in theory class. You'll end up achieving both.

Go to the next page to begin Exercise 5.

Exercise 5

Based on the given pickup notes on the dictation staff below, make the following predictions:

1. What are the most probable pitches that will follow?

2. What are the most probable rhythms that will follow?

3. Where in the melody would you likely see a pair of eighth notes again? Why?

Based on the given notes on the dictation staff below, make the following predictions:

1. What are the most probable pitches that will follow?

2. What are the most probable rhythms that will follow?

3. What will most likely be the last pitch of this melody? If not that note, what other note would be likely?

It is important to realize that your predictions may not prove correct! However, by making predictions, you set yourself up to decide only whether they were true, rather than entering blindly and starting cold.

CHAPTER 2

THE BIG PICTURE

During dictation, you must choose whether to focus on specific details or the "big picture." The choice of balance between the two is different for each student — and sometimes for each listening by a single student. Attention to broad melodic characteristics can help narrow choices and focus perception, but listening for details is necessary to finish the task precisely.

In a dictation with three listenings, you might choose to put most of your attention on broad characteristics during the first listening while recording a few salient details, such as the starting and ending pitches. You might casually check your understanding of the broad characteristics on the second listening, while focusing more attention on details and music theory logic to fill in additional bits. Finally, on the third listening, you can place most or all attention on precise details to finish your work. The masters in the research study reported this gradual shift in focus of attention specifically. Success with this approach begins with the first step: recognizing broad melodic characteristics such as range, form, repetition, and sequence.

RANGE

Determining the range to which a dictation melody is confined can be a big boost in pinpointing the pitches and notating them correctly. When you are about to hear the melody for the first time, there is truly an infinite range of pitches available. One of the first tasks of process of elimination is to rule out as much pitch range as possible, and determine the highest and lowest points of the target. You can improve your overall accuracy and efficiency of range determination easily by practicing with familiar tunes in your head.

Go to the next page to begin Exercise 6.

Exercise 6

Important: Do not allow yourself to get hung up on additional details in the Following exercise. Your goal is to answer the questions quickly and accurately, ignoring other distracting information when necessary.

Using the key, meter, pitch, and rhythm prompts given, sing silently through "Mary Had a Little Lamb" as quickly as possible to determine:

1. What is the lowest pitch, and where would it occur on the staff ?

2. What is the highest pitch, and where would it occur on the staff ?

3. Which pitch of the scale within the range boundaries of this tune is not used?

4. What would the range boundaries of this tune be in E major? A-flat major? B major?

Using the key, meter, pitch, and rhythm prompts given, sing silently through "Frère Jacques (Are You Sleeping?)" as quickly as possible to determine:

1. What is the lowest pitch, and where would it occur on the staff ?

2. What is the highest pitch, and where would it occur on the staff ?

3. Which two pitches of the scale within the range boundaries of this tune are not used?

4. What would the range boundaries of this tune be in E-flat major? A major? C major?

Using the key, meter, pitch, and rhythm prompts given, sing silently through the first full phrase of "Joy to the World" as quickly as possible to determine:

1. What is the lowest note, and where does it occur?

2. What is the highest note, and where does it occur?

3. Which note, the highest or lowest, occurs more frequently in this first phrase?

4. Which note, the highest or lowest, occurs more frequently within the whole tune?

The questions in Exercise 6 require you to imagine the placement of pitches and rhythms on the staff by connecting the sounds you are silently singing to the visual symbols that represent them. Regular practice imagining the notation of patterns and tunes is very helpful when later trying to imagine the notation of a target melody during dictation. More important, pairing of sight and sound within your imagination is highly beneficial not only when taking dictation but also when tackling a host of other musical tasks, such as performing, sight-reading, conducting, or composing — in short, building your overall musicianship.

Range is not an aspect of pitch only; melodies also exhibit a range of rhythms. For example, a melody may comprise mostly pairs of eighth notes, with a few quarter notes for punctuation ("Mary Had a Little Lamb"), or incorporate a couple groups of sixteenth notes for variety and motion ("Frère Jacques"). Quickly and accurately determining the range of rhythms employed is also an effective way of incorporating process of elimination in dictation tasks. Again, frequent practice with familiar tunes in your musical imagination can help you develop this skill quickly.

(Continues...)

Excerpted from Building Better Dictation Skills by Nathan O. Buonviri. Copyright © 2015 Nathan O. Buonviri. Excerpted by permission of ROWMAN & LITTLEFIELD.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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Edition details

• Publisher: Rowman & Littlefield Publishers
• Publication date: 2015
• Language: English
• ISBN 10: 1475813929
• ISBN 13: 9781475813920
• Binding: Paperback
• Number of pages: 156