9. Triad-based Leaps
Successful sight singing combines skills of interval identification with knowledge of functional harmony.
Use skills in tandem for successful sight singing.
In simple melodies, functional harmony typically cycles through three functions: Tonic - Predominant - Dominant. The dominant function at the end of the cycle creates the expectation of the return to the tonic, and thus the cycle begins again.
The harmonic cycle of tonality
The triads that are built from each scale degree of a major and minor scale can fit neatly into one of the three primary functions. In a major scale, the triad built on the first scale degree of a major scale (Do - Mi - Sol) fits as a tonic function. The triad built on the fifth scale degree (Fa - La - Do) is the most typical predominant function triad. And the triad built on the fifth scale degree (Sol - Ti - Re) is the most effective dominant function triad.
Harmonic functions of diatonic triads
Adding a seventh to the fifth scale degree triad will create a dominant seventh chord. The dominant function of this seventh chord built from the fifth scale degree becomes even stronger as the tension filled pitches of “Ti” and “Fa” naturally resolve inwards into the tonic triad.
Ti and Fa Resolutions
In music theory, Roman Numerals are used to recognize the root of each triad (root = the scale degree that a chord is built from).
Roman Numerals
A chord that is built from the 1st scale degree is analyzed with a Roman Numeral of [ I ] (lower case [ i ] if it is a minor triad). A triad built on the 4th scale is analyzed with a Roman Numeral of [ IV ] (lower case [ iv ] if it is a minor triad). And a triad built on the 5th scale degree is analyzed with a Roman Numeral of [ V ].
The triads built on the 1st, 4th, and 5th scale degrees are known as the primary triads, and coincide with the most effective harmonic functions of Tonic, Predominant, and Dominant.
Diatonic triads in Major and minor keys
The chords that are built from the leftover scale degrees (scale degrees 2, 3, 6 and 7) can be used in the stead of a primary triad. In general, if the triad shares two common tones with one of the primary triads (I, IV or V) it can function in the same way.
Functions for non-primary diatonic triads in a major key
It is useful to practice singing various leaping patterns that highlight one diatonic triad. The term “diatonic” means any scale- or harmony-based music that does not contain accidentals, i.e. pitch adjustments not present in the original key signature.
Singing patterns for triad
The singing pattern above can be replicated from any diatonic triad from any given key, using the appropriate solfege syllables. This is a bit of rote learning (“rote” = mechanical or habitual repetition of something to be learned) that can be used in conjunction with problem solving and critical thinking of harmony and intervals.
Alpine folk music from Switzerland and Austria, in the acrobatic vocal technique known as yodeling (jodeln), often features leaps between scale degrees of tonic and dominant function chords.
Check out the following audio and harmonic analysis of vocalist Lydia Sprechen’s yodeling acrobatics in the song Tanzliedli, taken from the album “Jodelperlen: Swiss Yodelling”. The yodeling section of the song is a constant back and forth between the tonic triad and the dominant seventh chord.
"Tanzliedli" as recorded by Lydia Sprechen & Bobby Zaugg
“Tanzliedli” (normal speed), performed by Lydia Sprechen & Bobby Zaugg
“Tanzliedli” (slowed-down version), performed by Lydia Sprechen & Bobby Zaugg
“Tanzliedli” (full song), performed by Lydia Sprechen & Bobby Zaugg