Samantha Ragusin

MUSE 258/Voice Techniques

Citation Sound Connections, Chapter 6

Don Ester 2010

Summary Outline
Music students are prepared to encounter their first notation as soon as have mastered
the echoing and echo-translation of tonal patterns 1.0 – 1.3. When the Tonal Wand is
used on a blank staff and do-clef, students eyes are trained to see notation in the
passage of time as well as pitch in terms of higher or lower. The blank staff, tonic-triad
guide overlays, tonal-pattern overlays, and do-clef overlays can greatly assist in
transitioning students towards reading notation. When the students no longer need the
tonic-triad guide overlay, that overlay can be replaced with the do-clef overlay. Similarly,
the introduction of minor patterns follows the same idea with only a few modifications.
Do is still used as the “home” note, as key signatures and the concept of major and
minor dictate this as most simple. Ledger lines, the scale, clefs, letter names, and
accidentals are all added as students progress through the sequence. Ledger lines are
introduced through a simple slide of the tonal-pattern overlay, the scale is best
introduced with pattern 3.5, clefs and key signatures can be taught by giving the
students three simple rules, and letter names and accidentals are best presented
together. Intervals can be effectively introduced through vocal exercises that outline
simple intervals. Chromatic alterations can be presented with the chromatic scale when
the harmonic minor scale is introduced at Level 3. Modulation presents a new challenge,
but practice (and the use of la-minor) make the challenge manageable. Laminor also
makes the presentation of modes much simpler. As students move to notating tonal
patterns, they progress through three stages: Direct Presentation, Audible Echo-
Translation, and Audiated Echo-Translation stages. Once they are able to notate, they
can compile their experiences, sound vocabulary, and notational ability to compose and
save these compositions for later revision.

Discussion
Within chapter 6, I was most struck by the advice given near the beginning about
pitching the do-clef. The text suggests that if the do-clef should be pitched, then it should
be pitched as the treble clef. This is extremely beneficial for any elementary teacher. The
child singer’s voice typically has a range of C4-C5, which falls mostly on the lines and
spaces of the treble clef. What the text also mentions, however, is that the exact pitch is
largely unnecessary, so long as tonality is established. This also translates nicely into
the general music classroom, as many songs and games are sung a cappella and in
various pitch centers. As I read this section of the chapter, it was easy to consider the
many different uses and correlations this notational reading curriculum suggests. The
lesson plans and ideas presented here can easily be utilized within lesson concepts.
Building tonal patterns could easily segue into a lesson on tonality, tonic and dominant
chords, the scale, or even be utilized with familiar songs to work on dictation skills.
Another aspect of this chapter that could be extremely relevant to my future career is the
tonal wand.