Aural D1 Name: ………………………….

Week 1

1. Introduction to AIM
2. Introduction to Subject
• Download the EUO
• Aural requires practice. Discuss ways of practising (Aurelia [in library, student discount to buy], EarMaster,
iPhone app Tenuto, play on your instrument or keyboard, sing, practise with a friend, etc)
3. Assessment
1. Mid-Trimester Notation exam (30%) – in Week 6 class time
2. Viva Voce exam (sight-singing: 20%) – in Week 11 class time
3. Final Notation exam (50%) – in Week 12 class time
4. Course Summary
• Sight-Singing
o Perfect and Major intervals (ie: intervals of a major scale to solfa, ascending and descending)
o Rhythms – clap and say French time names

Up to 4 bars

4/4

Containing q, h, h., w

No rests
• Aurally recognise
o Major and natural minor scales
o Major and minor triads
o Perfect and Major simple intervals
o Perfect Authentic and Plagal cadences
• Notate from transcription
o rhythms

4 bars

4/4

Containing q, h, h., ˙

Up to 13 notes

5. Introduction to tonality

Prior to 1600 harmonic systems developed based on scales called modes, often referred to as the church or
ecclesiastical modes. At the beginning of the Baroque Period (1600-1750) composers started developing a new system
of tonality based primarily on two of the modes. These became what we call the Major scale (based on the Ionian
church mode) and the minor scale (based on the Æolian church mode). This system was used throughout the Baroque
Period, the Classical Period (1750-c.1810) and the Romantic Period (c.1800-1900). In the twentieth century composers
developed further systems with an absence of tonality: atonal music. Also, the way dissonance was treated started to
change particularly with the development of jazz and contemporary music forms.

Tonal music is music in major and minor scales. Thus questions referring to the tonality of a piece of music are asking
whether the piece is in a major or minor key. The different keys are used to portray different moods. Listen to these
examples of pieces in major and minor keys:
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Major keys:
Extract 1: Mozart Eine kleine Nachtmusik, 1st movement: Allegro.
Extract 2: Elton John Can you feel the Love Tonight.

Minor keys
th
Extract 3: J.S. Bach Orchestral Suite No.2, 7 movement: Badinerie.
Extract 4: A. Lloyd Webber The Phantom of the Opera, title track.

What moods are portrayed by each type of scale?

Major keys: ……………………………………………………………………………………………………………………………………………………………….

……………………………………………………………………………………………………………………………………………………………….

minor keys: ……………………………………………………………………………………………………………………………………………………………….

……………………………………………………………………………………………………………………………………………………………….

These scales (and any others such as the church modes) are differentiated by the intervals of which they are comprised.

An interval is the distance between two notes. Two standard units of measurement are the tone and the semitone.

Definitions:

Semitone: ………………………………………………………………………………………………………………………………………………………………………..
………………………………………………………………………………………………………………………………………………………………………..
Tone: ………………………………………………………………………………………………………………………………………………………………………..

Revision:
As necessary, revise note names of treble and bass clef:

And the Grand Staff:

If you need to practise quickly recognising the note names in treble and bass clef with leger lines, try the iPhone app
‘Tenuto’.
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Write a Major scale starting on Middle C in the treble clef and name the notes using the four different systems listed:
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Letter names: ………………………………………………………………………………………………………………………………………………………………..

Tonic solfa: ………………………………………………………………………………………………………………………………………………………………..
Scale degree numbers: ……………………………………………………………………………………………………………………………………………………
Scale degree names: ……………………………………………………………………………………………………………………………………………………….
………………………………………………………………………………………………………………………………………………………………..
Don’t forget the carets on the scale degree numbers!
Sing this scale to each of these systems. Ascending and descending.
Now mark the semitones with slurs. Which scale degree numbers do the semitones occur between?
………………………………………………………………………………………………………………………………………………………………….
Now mark the tones with square brackets. Which scale degree numbers do the tones occur between?
………………………………………………………………………………………………………………………………………………………………….
We can use the patterns of tones and semitones to find the key signatures for any scale. Now use the pattern of tones
and semitones in a major scale to write the scale of D Major. What is its key signature?
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Key signature of D Major: ……………………………………………………………

In your music theory classes you will look at other ways of finding key signatures. These are important as so many other
parts of music theory depend on them. Quickly learn how to recognise or write them accurately. Memorise them if you
can.

Now write a minor scale starting on the A below Middle C (2nd leger line) in the treble clef and name the notes using the
four different systems listed:
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Letter names: ………………………………………………………………………………………………………………………………………………………………..

Tonic solfa: ………………………………………………………………………………………………………………………………………………………………..
Scale degree numbers: ……………………………………………………………………………………………………………………………………………………
Scale degree names: ……………………………………………………………………………………………………………………………………………………….
………………………………………………………………………………………………………………………………………………………………..
What is the relationship of the scale to C Major? What is the correlation in the solfa?
Sing this scale to each of these systems. Ascending and descending.
Now mark the semitones with slurs. Which scale degree numbers do the semitones occur between?
………………………………………………………………………………………………………………………………………………………………….
Now mark the tones with square brackets. Which scale degree numbers do the tones occur between?
………………………………………………………………………………………………………………………………………………………………….
Aural D1 Week 1 Page 4

Revision:
As necessary, revise accidentals of sharp, flat and natural:

Reference:
Chromatic solfa:

6. Exercises

1. Identify the scales your tutor will play to you as major or natural minor.

i. ……………………………………………………………………………………….

ii. ……………………………………………………………………………………….

iii. ……………………………………………………………………………………….

iv. ……………………………………………………………………………………….

v. ……………………………………………………………………………………….

2. Sing these intervals from the given notes. Use the solfa for C Major. Check you are in tune. Name the new note.

i. Semitone above C: ……………………………………………………….

ii. Tone above E: ……………………………………………………….

iii. Tone below C: ……………………………………………………….

iv. Semitone below F#: ……………………………………………………….

v. Tone above G flat: ……………………………………………………….

Aural D1 Week 1 Page 5

3. Sing these scales ascending from the given note. Check you are in tune. Write the scale with the correct
pattern of tones and semitones. Identify its key signature.

1. A Major
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2. F Major
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3. B flat Major
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4. E natural minor
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5. D natural minor
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Practice:
As said at the beginning of class, aural is a skill and as such needs regular practice. Practise these exercises this week.
1. Recognising major and natural minor scales aurally.
2. Singing major and natural minor scales to solfa.
3. Singing tones and semitones in tune using solfa.
4. Be able to read and write all notes of the treble and bass staves including leger lines.
5. Be able to read and write key signatures.