8VHU*XLGH. Original board game and concept designed and created by. Kenneth M. Davidson. Software developed, published, and distributed by

Transcription

1 2SXV&KDOOHQJHU 8VHU*XLGH Original board game and concept designed and created by Kenneth M. Davidson Software developed, published, and distributed by Adventus Incorporated 3667 Strawberry Hill Street, Suite 103, Halifax, NS, B3K 5A8 or Internet: Copyright 2002 Adventus Incorporated. All rights reserved.

2

3 Introduction Opus 1: Challenger brings a new perspective to the learning of concepts that are precursors to the serious study of music harmony and composition. Challenger, played by individuals or teams, is an exciting new game of chance and skill that introduces elements of music theory without detracting from game play. Students require experience to gain confidence applying the concepts and skills targeted by Challenger, and this experience is difficult to acquire given limited class time. Opus 1: Challenger should be considered core reference material for music programs where some importance is placed on aural perception, and the construction and manipulation of fundamental musical devices. The Challenger manual has a twofold purpose. It is designed to provide the user with all the information needed to get started, along with helpful ideas for developing greater skill in playing the game. This manual also contains a Challenger Skills Log, which is a recommended checklist of scales, chords, and other music sequences to be considered as the players enjoy the strategic elements of the game. Teachers will be pleased to see this dual purpose since the students will be required to systematically play through a carefully laid out order of musical devices. This experience will, in turn, reinforce their theory knowledge and aural perception. By using the Challenger Skills Log, you will discover literally hundreds of musical devices that can be used to score and win. And although points can be earned by using a limited number of these, by being aware of the many possibilities, players will become better equipped with theory and aural skills to score more quickly and easily. This approach will lay a solid foundation for the maestro level and tournament play. Challenger is the first title in the music intelligence series (MUSIQ) published by Adventus Incorporated, in collaboration with Acadia University. To contact the author directly, ken.davidson@adventus.com

4

5 LIMITED WARRANTY AND SOFTWARE LICENSE AGREEMENT Adventus Incorporated - Opus 1: Challenger Adventus Incorporated is confident that the software it produces meets its own high standards and those of its customers. With that in mind, the following warranty is offered to the original purchaser of Adventus Incorporated's products. BY USING THE SOFTWARE INCLUDED WITH THIS AGREEMENT YOU WILL INDICATE YOUR ACCEPTANCE OF THE TERMS OF THIS LEGAL AGREEMENT BETWEEN YOU, THE END USER, AND ADVENTUS INCORPORATED. THE SOFTWARE AND ACCOMPANYING ITEMS ARE PROVIDED TO YOU ONLY UPON THE CONDITION THAT YOU AGREE TO THE TERMS OF THIS AGREEMENT. IF YOU DO NOT AGREE TO THE TERMS OF THIS AGREEMENT AND DO NOT WANT YOUR ACT OF USING THE SOFTWARE TO INDICATE YOUR ACCEPTANCE OF THE TERMS OF THIS AGREEMENT, PROMPTLY RETURN THE SOFTWARE TOGETHER WITH ALL ACCOMPANYING ITEMS TO YOUR DEALER FOR A FULL REFUND. LIMITED USE LICENSE. Adventus and its suppliers grant you the right to use one copy of the Program for your personal use only. The Program is owned by Adventus as set forth in the Program or associated documentation and is protected by Canadian copyright laws and international treaties. Adventus or its suppliers reserve all rights not expressly granted. YOU MAY: Transfer the complete Program Package on a permanent basis, provided that you retain no copies and the recipient agrees in writing to the terms of this Agreement. YOU MAY NOT: Use the Program on more than one computer terminal or workstation at the same time. Make copies of the materials accompanying the Program, or make copies of the Program except as provided above. Use the Program in a network or other multi-user arrangement or on an electronic bulletin board system or other remote access arrangement. Rent, lease, license or otherwise transfer the Program without the express written consent of Adventus Incorporated except that you may transfer the complete Program package on a permanent basis as provided above. Reverse engineer, de-compile, disassemble, or create derivative works of the program.

6 Use the CD-ROM on another computer or loan, rent, lease or transfer them to another user except as part of the permanent transfer of the entire Program Package. Copy or sell the custom library files saved in the Adventus proprietary format. LIMITED WARRANTY. Adventus Incorporated's sole warranty is that the program media will be free from defects in materials and workmanship under normal use for a 150 day period from the date of receipt by the customer and that the program operation will substantially conform to the description in this manual during that 150 day period, or we will, at our option, replace the software or refund your purchase price upon your return of the software to us, postage prepaid along with a copy of your receipt. EXCLUSIVE REMEDY. Adventus Incorporated's entire liability and your exclusive remedy shall be, at Adventus Incorporated's option, either (a) the repair or replacement of the Program that does not meet the Adventus Limited Warranty and which is returned to Adventus with a copy of your receipt: or (b) a refund of the price, if any, which you paid for the Program and associated materials as substantiated with proof of purchase. TO MAKE A WARRANTY CLAIM, PLEASE RETURN THE PROGRAM PACKAGE TOGETHER WITH YOUR PROOF OF PURCHASE TO YOUR DEALER OR ADVENTUS DURING THE WARRANTY PERIOD. This Limited Warranty is void if the failure of the CD-ROM has resulted from accident, abuse, or misapplication. Any replacement Program will be warranted for the remainder of the original warranty period or ninety (150) days, whichever is longer. NO OTHER WARRANTIES APPLY, WITH RESPECT TO THE PROGRAM, PROGRAM MEDIA AND THE ACCOMPANYING WRITTEN MATERIALS, ADVENTUS AND ITS SUPPLIERS, IF ANY, DISCLAIM ALL WARRANTIES, OTHER THAN THE ABOVE WARRANTY BY ADVENTUS EITHER EXPRESSED OR IMPLIED, INCLUDING BUT NOT LIMITED TO IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. ADVENTUS DOES NOT WARRANT THAT THE PROGRAM WILL MEET YOUR REQUIREMENTS OR THAT THE OPERATION OF THE PROGRAM WILL BE UNINTERRUPTED OR ERROR FREE.

7 LIMITATIONS ON DAMAGES. IN NO EVENT SHALL ADVENTUS OR ITS SUPPLIERS, IF ANY, BE LIABLE FOR ANY DAMAGES WHATSOEVER (INCLUDING WITHOUT LIMITATION, DAMAGES FOR LOSS OF PROFITS, BUSINESS INTERRUPTION, LOSS OF INFORMATION, OR OTHER PECUNIARY LOSS) ARISING OUT OF THE USE OF OR INABILITY TO USE THE PROGRAM OR PROGRAM PACKAGE, EVEN IF ADVENTUS OR ITS SUPPLIERS, IF ANY, HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. IN NO EVENT WILL ADVENTUS INCORPORATED'S LIABILITY FOR ANY REASON EXCEED THE ACTUAL PRICE PAID FOR THE LICENSE TO USE THE SPECIFIC PROGRAM, BECAUSE SOME STATES DO NOT ALLOW THE EXCLUSION OR LIMITATION OF LIABILITY FOR CONSEQUENTIAL OR INCIDENTAL DAMAGES, THE ABOVE LIMITATION MAY NOT APPLY TO YOU. The music included in 'Opus 1: Challenger' is intended for private use only. Public performance, broadcast or cable transmission, or other use is expressly prohibited. It is a violation of copyright law to print the music contained in the 'Opus 1: Challenger' in the form of standard music notation without the express written permission of the copyright owner. The software is the property of Adventus Incorporated. Adventus Incorporated reserves the right to make any changes, additions, or improvements to this software or documentation at any time without notice to any person or organization. The documentation may not be copied in whole or in part without written consent from Adventus Incorporated. Program graphics may not appear exactly the same as illustrated in this manual. Opus 1: Challenger, in all or any version (published by ADVENTUS INCORPORATED) copyright 1998 ADVENTUS INCORPORATED. Adventus Software, the Adventus Software Logo, 'Opus 1: Challenger', and the name Adventus Incorporated are trademarks of ADVENTUS INCORPORATED. All rights reserved. All images and text used involving Windows95 are trademarks of Microsoft Corporation. Sound Blaster is a trademark of Creative Technology Ltd. CANADIAN GOVERNMENT RESTRICTED RIGHTS. The Program and documentation are provided with restricted rights. Use duplication, or disclosure by the Government is subject to restrictions as set forth in the Copyright Act as applicable. The Contractor/Manufacturer is Adventus Incorporated, Suite 103, 3667 Strawberry Hill, Halifax, Nova Scotia, B3K 5A8. SAVE THIS LICENSE FOR FUTURE REFERENCE

8 UPGRADING AND CUSTOMER SUPPORT Check for regular upgrades on the Adventus web site: Customer support is available from 9:00 to 5:00pm Atlantic time by Telephone support is available during the same hours at MIDI (6434).

9 Table of Contents 1 Getting Started Learning The Basics Starting Your First Game Complete Rules of Play Connecting Over The Internet Settings FAQ Charts and Lists Used in Opus Strategies and Tips Challenger Skills Log Notated Motifs... 67

10

11 *HWWLQJ6WDUWHG System requirements: The following requirements will ensure that Opus 1 software runs on your computer. i. Windows 95/98/Millenium ii. 32 Megabytes RAM iii. 8X CD-ROM iv. Pentium 150MHz or better v. Minimum High Color (16 bit color) display at 800X600 resolution vi. 100% Sound Blaster compatible sound card Setting Your Computer's Display Properties Before installing Opus, ensure the graphics settings on your PC are at least 800x600 resolution, and at least 16-bit color by performing the following six short steps. i. Click on the Windows Start button and select Settings from the menu. ii. iii. iv. From the next menu which appears, select Control Panel and click on it. From the screen that appears, click on the Display icon. The Display Properties window will appear. Click on the Settings tab of the Display Properties window. v. Where it reads Desktop area, slide the control left or right until the text under the slider reads 800x600 pixels. vi. Click on the color palette and choose High Color (16 bit color) 11

12 Installation of Opus 1: Challenger Software: i. Place the Opus 1: Challenger CD in the CD-ROM drive of your computer. The Opus Auto-run screen will appear. ii. iii. If the Auto-run screen does not appear, Left-click on the Windows Start button and select Run from the menu. In the box which appears type in the following line: D:\autorun.exe (where D: is the drive letter associated with the CD-ROM drive) and click on the OK button. The Auto-run screen will appear and you can proceed to the next step. Click INSTALL on the Auto-run screen. Follow the directions on the screen as the install program performs the Challenger software installation. 12

13 /HDUQLQJ7KH%DVLFV A lot of what you need to know about Challenger is presented in order during start-up. It is suggested that you let the program proceed through the introduction stages automatically to receive the full introduction. You can disable the automatic introduction later by changing the user settings. You may exit the automated introduction by pressing the Esc key. At this point you will be able to control what parts of the introduction you are viewing. The introduction is separated into four components: Adventus Music Television: This section introduces the game sponsor, a satellite broadcasting company named Adventus Incorporated that televises the Opus 1 weekly challenges. Opus 1: Challenger: This section introduces the background of the game. Two competing groups of musicians play Challenger, using a musical game board in order to decode a mystery piece. The winning group receives a global pay-per-view TV appearance as a reward. Opus 1: Challenger Sample Games: This section contains several key demonstrations from last weeks Challenger event. Music Theory: This reviews general music theory and the basic game rules that the player should understand before playing the game. For the full expanded version of the rules see chapter 4 in this manual or go to the Windows Start Menu, and select Opus 1 Help, or click on the Help button on the main menu. 13

14 14

15 6WDUWLQJ<RXU)LUVW*DPH To begin a game, left-click on the "Login Local" on top of the main menu. This allows two people to play on a single machine. When the next window appears the two players must first decide who will be Player 1, Red, and who will be player 2, Blue. Red then enters a name in the appropriate color bar and chooses a musical genre. Listen through several of the pieces if you like. Blue does the same. Now both players decide on one of the playing levels at the bottom and make a selection by clicking on it. The beginner level is recommended first while becoming familiar with the rules of play. Now click on the "Start" button. Here is what you will see: 15

16 1. Semitone screen toggle: Counts the distance in semitones from a selected game piece. 2. Blue starting position: Starting position and game pieces set for the blue player (player 2). 3. Motif Menu button: Click this button to access all the written and notated motifs used in challenger. 4. Game board: Where game pieces are played. 5. Enharmonic Line: When a piece is placed here the player has the option to change the note enharmonically (i.e. DG to a C). 6. Game board activity slider: Allows you to speed up or slow down background game board effects. 7. Volume control slider: Allows the player to control the in-game volume. 8. Game board interval symbols slider: Allows the user to set the brightness of the game board interval symbols. 9. Red starting position: Starting position and game pieces set for the red player (player 1). 10. Replay control bar: Allows the user to review a current or completed game. 11. Blue hand: 5 Interval cards set for player 2 (5 cards are randomly set at the beginning of each game and turn.) 12. Discard pile: Click here to discard selected cards and end turn. 13. End turn: Click here to end current players turn. 14. Red hand: 5 Interval cards set for player Menu button: Clicking this button will open user menu options. 16

17 &RPSOHWH5XOHVRI3OD\ 1 What is the object of the game? The first player to score the required number of points at a pre-determined skill level wins the game. When a high level of proficiency has been reached (Maestro Level) players will have an option of completely decoding a mystery piece while accumulating points. Which ever is done first at this level will end the game. To begin a game: Each player takes turns playing a hand of five cards called INTERVAL CARDS, which dictate the movement of game pieces around the board. These games pieces represent musical NOTES and are arranged in a specific starting order on the top (Red) and bottom (Blue) of the game board. The NOTES must be brought onto the board from their starting positions and rearranged to write musical patterns called MOTIFS. These patterns include scales, triads, and other sequences, which are basic principles, found in music theory. Completing a MOTIF is how points will be scored. (See also CHARTS 8a through 8h) Three simple steps: a. Choose one of the five INTERVAL CARDS in your hand by clicking on it and then select one NOTE by clicking on it. Determine its direction and distance according to the INTERVAL CARD and then click on the new square on which your NOTE will land. Your NOTE will then jump to that square. b. Play again, up to 5 moves, one for each INTERVAL CARD. Remember, you are attempting to arrange your NOTES to form MOTIFS and score points. When a MOTIF is completed a running scoreboard will appear showing your MOTIF and the new points earned. If you still have cards in your hand after scoring, play again. c. You may discard unwanted cards by selecting them and clicking the "Discard" pile (left). If you are not discarding unwanted cards and cannot make another play click on the "End Your Turn" pile (right). Clicking on either pile will end your turn and replenish your hand to five cards for your next turn. 17

18 As the game continues players will hear the sounds of NOTES and INTERVAL CARDS as they are used and the rewarding sounds of MOTIFS as they are scored. In this way players will effortlessly reinforce their aural skills while enjoying the challenges of the game. 2 How long does it take to play one game? The first game may take the longest, about an hour or more as you learn about the game. Once you know how to play, games may be shorter or longer depending on the skill level (point level) determined at the beginning of each game. The level of strategic thinking will also be a determining factor in the length of a game. 3 Tell me more about the playing cards. These cards are called INTERVAL CARDS. Each player gets to work with a hand of five cards all of which may be played in a single turn. A single card played will move one NOTE. INTERVAL CARDS are marked with the symbols ] P and numbers 1 to 8. These cards compare with regular playing cards in that there are different suits with a series of numbers in each suit. INTERVAL CARDS are used to determine the distance and direction NOTES will move on the board. There are also cards marked INVERT, which may appear in your hand. The INVERT card is used to change any INTERVAL CARD. In music theory, an interval stated on an INTERVAL CARD would be inverted to become a different interval with the use of this special card. (See also CHARTS 8k) 4 Tell me more about how I move my NOTES. To move a NOTE, first select an INTERVAL CARD by clicking on it. It will pop up. You will see a number appear below the card which tells you the exact number of consecutive squares on the board your card will move a NOTE. In music, an interval is the distance in pitch between any two notes. This distance can be measured in semitones. The number you see when your cursor hovers over a card refers to this unit of measurement. This number will not correspond to the number on the card; the symbol and number on the card identifies the interval while the hint appearing below defines the actual size of the interval and determines movement on the board. 18

19 Now select a NOTE by clicking on that NOTE. You will hear the sound of that note and the sound of another note and then your NOTE again. This other note relates to the interval stated on the card. If you click on a NOTE without selecting an INTERVAL CARD first you will hear the sound of that NOTE only. To determine the direction in which a NOTE moves you must consider the symbol printed on the selected INTERVAL CARD. If you look at the card, you will see that it is marked with one of the 5 INTERVAL types used in music theory: (major), (minor), ] (augmented), (diminished), and P (perfect). These are the direction indicators. Along each of the four sides of the playing area you will see a repeated symbol representing one INTERVAL type. Move your NOTE in a straight line toward the symbol that matches the INTERVAL CARD. The Interval symbol not marked on the board is the P (perfect). These cards allow NOTES to move diagonally. The P (perfect interval) lets you move in any direction, or combination of directions, as long as you move from corner to corner and not side to side. You cannot cross your own path, back track, or end up in the same square on which you started. Unlike other INTERVALS, the P INTERVAL cannot pass over other NOTES. These cards may seem to be restrictive however players will soon discover that the P cards are quite powerful. Once you have determined the new square on which your NOTE will be placed, click on that square and your NOTE will immediately appear there. 5 How can I figure out how many SEMITONES are in an INTERVAL? This is the number which appears when the cursor hovers over any card in your hand. This little hint tells you how many semitones the interval printed on that card will relate to. Your INTERVAL CHART lists all the intervals and tells you about the number of semitones in any given interval. (See CHARTS 8k) 19

20 The squares on the board represent semitones (or half-tones or half-steps, if you like). Since musical intervals are made of semitones, the INTERVAL CARD tells you how many squares you can move one of your NOTES. Move one square for each semi-tone. 6 Can you give me an example using a particular INTERVAL CARD? Let's consider an INTERVAL CARD marked 3rd (Major 3rd), which consists of four SEMITONES according to the hint and INTERVAL CHART. This card will allow you to move a NOTE 4 squares toward the border at the top marked ' '. You must remember that the number on the INTERVAL CARD is not the number of squares you can move, but rather it is part of the interval name. The interval on the card must be converted to its unit of measurement in semitones, which corresponds to squares on the board. 7 Can you tell me more about the card marked INVERT and how I use this card? These cards are used to invert any INTERVAL CARD you may have in your hand. For example, if you have a 3 in your hand and use your INVERT CARD, the 3 becomes a 6(minor 6th). You would now move your NOTE according to the 6. In music, all intervals can be inverted by lowering the upper of the two notes note one octave or raising the lower note one octave. Doing this changes the size of the interval. To use an INVERT CARD you must first click on the INTERVAL CARD you wish to invert or change, then click your INVERT CARD. Both cards will pop up. The number in the hint will show the new inverted interval. After play is made and a NOTE moved, both the INTERVAL CARD and the INVERT CARD will be discarded together. You will discover that when inverting any ] interval the NOTE will move in the opposite direction on the board. In music theory, these intervals change to opposites when inverted. Major becomes minor or vice versa, and diminished becomes augmented ] or vice versa. Since the Perfect interval moves a note diagonally, only the number of squares of movement will change when inverted. This correlates to Perfect intervals remaining perfect when inverted. (See CHARTS 8k) 20

21 Major Third Invert Minor Sixth (four semitones) (eight semitones) 8 What if I draw a bad hand, or a hand of cards in which some are of little use? When this happens, you may discard some or all of your cards and replace them with new ones. To do this, click on the unwanted cards. They will pop up. If you hover your cursor over the left pile you will hear the word "Discard". Click on the "Discard" pile. Once you do this your turn immediately passes to your opponent. If your hand contains cards, which will allow one or more plays, you may discard your unwanted cards along with your last card played. It's now your opponent's turn. 9 How do I get my NOTES onto the playing area if the only INTERVAL CARDS I draw send me in every direction but onto the board? To get your NOTES onto the playing area move in a straight line only. Ignore the direction given by the INTERVAL CARD and move the exact number of squares (semitones) comprised by the INTERVAL. Once boarded, a NOTE must then obey the specific direction governed by an INTERVAL CARD. In the example shown at the top of the following page, the ]2 (augmented 2nd) card and the red NOTE 'G' have been selected. The ]2 card would normally move a NOTE three squares toward the right of the game board. Because the NOTE 'G' is in its starting position, it must move directly onto the board a distance of three squares disregarding the ']' symbol on the card. 21

22 10 Some INTERVAL CARDS are made of 0 SEMITONES. What can they be used for? The 2 and P1 INTERVAL CARDS represent INTERVALS of zero (0) semitones. These cards must be inverted to be used. You therefore must have an INVERT CARD in your hand to play a P1 or 2. An INVERT CARD makes the P1 a P8(12 semitones), and the 2 an ]7(12 semitones). Once inverted, move according to the new interval. If you look at your INTERVAL CHART, you will see the value of each interval when it is inverted. (See CHARTS 8k) Perfect Unison Invert Perfect Octave (0 semitones) (12 semitones) 22

23 11 What is the ENHARMONIC LINE and what happens when I place one of my NOTES there? The enharmonic line shows as a lighter shade through the center of the game board. This is a very important line where a NOTE must land in order to be turned over to show its ENHARMONIC NAME. In music, the term ENHARMONIC refers to a single note or pitch having two names. For example, C and DG are ENHARMONICALLY the same. This means they sound the same although written differently. The NOTES in this game have two sides to show both possible names. You don't have to flip a NOTE if you don't want to and you may stop on or cross over the ENHARMONIC LINE whenever you want, but moving onto the LINE is the only way you can change a NOTE to correctly write certain MOTIFS. When a NOTE rests on the ENHARMONIC LINE a question bar will appear asking if you want to flip your note. (See CHARTS 8i) 12 What can I do if one of my NOTES is already on the ENHARMONIC LINE and should be flipped to show the side that I need? You must play a card and make a move to change a NOTE enharmonically. You can hope that you get a card that will allow you to move along the line or move off and return to the line. 13 What happens when a NOTE is in a square on which one of my NOTES wants to land? That's too bad. You cannot land on a square that is already occupied by another NOTE. The only exception to this rule is when you KICKBACK an opponent's NOTE. 14 How do I KICKBACK my opponent's NOTE? And do I earn points if I can do this? If your NOTE has the same pitch (same note name or enharmonic name) as your opponent's NOTE, and can land on the same square using the correct INTERVAL CARD, then your opponent's NOTE will automatically be KICKED BACK to its original starting position while your NOTE takes its place. The NOTE marked? (OCTAVE) can only KICKBACK an opponent's?. And yes, 10 points are earned for a KICKBACK. (See CHARTS 8i for enharmonic name on flip sides) 23

24 15 How do I know whether or not my NOTE is the same PITCH as my opponent's when they don't have the same note name? Each NOTE represents a single musical PITCH. However, each NOTE has two sides with two possible enharmonic names. Whether one side or the other is face up, it is still the same PITCH. For example, A and BG are different NOTE names but are the same PITCH. It is best to refer to the enharmonic chart in this help section or manual for a list of enharmonic equivalents. (See CHARTS 8i) 16 What happens if one or more NOTES are between my NOTE and the square to which I want to go? You can pass over as many NOTES as you like with any INTERVAL CARD except the P (perfect) INTERVAL CARD. A NOTE moved by a P INTERVAL CARD must move around occupied squares to get to its destination. Remember, the square you want to occupy must be empty. The only exception is when the note on a destination square is of the same pitch. In this case you could land there by KICKING BACK your opponent's NOTE. 17 Do I have to move all my NOTES onto the playing area before I start to write MOTIFS and score? No. You can move as few or as many of your NOTES onto the playing area as you like, but you can only move one NOTE for each INTERVAL CARD. Once on the playing area, you can start moving NOTES around to write MOTIFS whenever and wherever you want. Remember, MOTIFS are the triads, tetrachords, and scales needed to score points. Study the guide to see exactly how MOTIFS are written. Although there are some exceptions in Challenger, MOTIFS must comply with the rules of conventional music theory. 18 What if there aren't enough squares in a specific direction to move a certain NOTE? For example, my NOTE is close to the border and I have an INTERVAL CARD larger than the number of squares available in that direction. Then you can't move in that direction. You cannot move fewer (or more) squares than the INTERVAL CARD tells you. Only a P INTERVAL CARD will allow a NOTE to deflect off the board's edge because of its diagonal or zigzag nature. If you are holding an INVERT CARD, you may be able to invert an opposite interval you may hold to allow a move in the desired direction. For example, if your NOTE is 4 squares from the right (] ] ] ] ]) side of the board and you need to go that way, you could invert a 7(diminished 7, 9 squares left) to become an ]2(augmented 2, 3 squares right). You would have room for this move. 24

25 19 How must I position my NOTES to write the MOTIFS needed to score points? There are many ways to align or position NOTES to score points. NOTES may be positioned anywhere on the playing area to write triads, tetrachords, diatonic major and minor scales, modes, augmented and diminished scales, and pentatonic scales. Any of these MOTIFS may be written in any normally written key, and scales may be written in ascending or descending order. NOTES properly positioned must be placed in squares that share common sides. How you join your NOTES is up to you as long as the squares they are in share a common side and not a common corner. There can be no spaces or interruptions. (See also CHARTS 8a - 8h) The picture above shows various proper methods of forming motifs. 20 Is there any flexibility in how I write my MOTIFS? Yes, there is. Scales and modes may be sequenced in ascending or descending order. Triad MOTIFS may be stated in root position, or in first or second inversion. All the possible MOTIFS are written in the help section and in this manual for verification purposes. MOTIFS do not have to be written in a straight line. As long as NOTES are linked and touching at sides any shape may be used. (CHARTS, part 8) 21 Once I have joined my NOTES, do they have to stay joined? No. You can join, separate, and re-join your NOTES as often as you wish. 22 Is it possible to write a MOTIF by connecting one or more of my NOTES to one or more of my opponent's NOTES? Yes, you can. However, the player concluding the MOTIF scores the point. Even if you happen to have more NOTES in place, your opponent may place a single NOTE to complete the MOTIF and score the points. It is recommended that you play strategically so as not to leave incomplete MOTIFS dangling and open to your opponent's cleverness. In the following example, Blue manages to fit the note 'E' into a scale MOTIF of the Red opponent. Blue receives the points for a triad motif as well as a scale motif. Red does not receive any points. 25

26 23 What about scoring points by simply reshaping an existing MOTIF? There are times when a MOTIF may be reshaped or remade to score again. If a MOTIF is already stated on the board, that MOTIF cannot score again when restated anywhere else on the board. NOTES cannot be added by branching off a MOTIF so as to duplicate it. However, after a MOTIF has been broken it may be made again to score. Sometimes only a single NOTE may be moved or added to create a new and distinct MOTIF. In the C major triad, C E G may be changed to its second inversion G C E by moving one NOTE. Or, an A may be added to C E G to produce the A minor triad A C E (G). The G here would then become redundant. Should the A be removed later, the remaining C G E would not score again since it already scored and is still there. This also means that a single NOTE could be added to a diatonic scale to produce a mode of a different name. Should this happen, full points would be earned for the new scale or mode. It is disappointing to have an opponent place one NOTE in a complete scale and earn the same number of points. In a case like this, it might be wise break a MOTIF by removing a NOTE before an opponent takes advantage of such an opportunity. (See CHARTS 8a - 8h) 24 What about chords larger than triads such as dominant sevenths and ninths? How can they be used to score? Experienced musicians know that chords greater than triads are often made up of combinations of triads. For example, a C dominant 7th chord, or C7, is spelled C E G BG. The first three notes spell a C major triad and the upper three notes spell the triad E diminished. Therefore, the C7 chord would be worth a total of 20 points, 10 for each triad. A creative strategy is to arrange the notes so that one of the middle notes is placed last. The 20 points are scored in a single move. A second example might be the F9, or F dominant 9th, spelled F A C EG G. This chord scores 30 points. 10 for the major triad, F A C; 10 for the diminished triad A C EG; and 10 for the minor triad, C EG G. (See CHARTS 8a for triads) 25 In the case of a tetrachord, which is really half a scale, how many points do I earn if I add a second tetrachord to complete a scale? A tetrachord consists of four notes in a scale sequence. Only the lower four and upper four notes of the major scale earn points. Tetrachords of the minor scale or any other mode do not have any value unless they are found to be common to major scales. Adding an upper tetrachord to a lower tetrachord (or lower to upper) of the major scale would score for the complete major scale. You can score for a tetrachord first (20 points) and then score for a complete scale (50 more) after adding the second tetrachord related to that scale. (You would not score for the second tetrachord as well.) (See CHARTS 8b for list of Tetrachords) 26

27 26 Can you tell me more about the game piece marked?? This piece is called OCTAVE and can only be used as an octave (same note name) at either end of a major or minor scale or mode. The OCTAVE cannot be used as a note within a scale. The OCTAVE cannot be used in a triad or isolated tetrachord and cannot be used in pentatonic, diminished, or augmented scales. The OCTAVE can only be Kicked Back by another OCTAVE. If a NOTE were added following an OCTAVE, in an attempt to write another scale or mode, it would not score. 27 What about Double sharps and Double flats? There are no game pieces marked with the double flat or double sharp. When either is required you must use the enharmonic equivalent. For example, when F (also written F]) is needed, use G, or when D is needed, use C. This is the only time that one game piece can be used in place of another note name, other than in the case of the OCTAVE. You will see where the double flat and double sharp are replaced by their enharmonic names in the lists of MOTIFS. The OCTAVE cannot be used to represent the double flat or double sharp. The following example shows Red with a completed scale motif using the note 'A' as an enharmonic for G, and Blue with a completed triad motif using the note 'A' as an enharmonic for B. (See CHARTS 8j) 28 Can MOTIFS be written in juxtaposition to other MOTIFS? Yes, they can. As long as they are touching at sides and not corners MOTIFS can cross, intersect, or run adjacent to one another, or even begin from a point in a different MOTIF. Remember, the player who puts the last NOTE in place scores the point. 29 I would assume then that multiple points could be earned by writing two or more MOTIFS just by adding a single NOTE. That is correct. Sometimes groups of NOTES may be positioned such that by adding one NOTE you can write more than one MOTIF. You would then score points for each MOTIF you have written. 27

28 30 Tell me more about the point system and the range of playing levels used in Challenger. Points are earned by writing MOTIFS anywhere on the playing area. MOTIFS are: triads, tetrachords, pentatonic major and minor scales, diatonic major and minor scales and modes, including harmonic and melodic minor scales, and augmented and diminished scales. MOTIFS can be written in any of the fifteen written keys (twelve plus the three enharmonic keys). Sharps and Flats must be used correctly in writing MOTIFS. It is very helpful to know about key signatures when writing MOTIFS, otherwise making reference to the charts and lists (chapter 8) will often be required. POINT SYSTEM TYPE OF MOTIF TRIADS (3 notes) Major, minor, diminished, augmented in any inversion TETRACHORDS (4 note major tetrachords only) PENTATONIC SCALES (5 notes) Major or minor DIATONIC SCALES (8 notes including?) Major, minor, harmonic and melodic minor, and any of the remaining modes DIMINISHED SCALES (8 notes including?) Eight note scales of alternating whole step - half step or the reverse, half step - whole step POINTS 10 0 Containing the OCTAVE (?) 20 Without the OCTAVE AUGMENTED SCALES (6 notes) Scales of whole steps only 40 KICKBACK 10 28

29 PLAYING LEVELS LEVEL POINTS REQUIRED MYSTERY PIECE BEGINNER 150 Decoded for you as you watch INTERMEDIATE 300 Decoded for you as you watch and learn ADVANCED 600 Decoded for you as you prepare to... MAESTRO 1000 or Decode it yourself 31 Tell me more about this mystery piece and the advanced level of play. There are two ways to win in Challenger. You can reach the correct number of points required at one of the four skill levels selected at the beginning of the game. Or, decode a short mystery piece of music taken randomly from one of the musical genres you elected when logging on. At the first three skill levels you can watch and learn how the mystery piece unfolds as the game automatically does the work for you when points are scored. At the Maestro level you have the option of decoding the mystery piece yourself or scoring the full 1000 points. Which ever you do first ends the game. Advanced games (Level 4 Games) are for players that have become familiar with all aspects of the Challenger game by playing at lower levels and have played through the Challenger Skills Log. The Maestro level games differ in a several significant ways from the easiest level: 1. The winning player or team plays to a much higher score before winning. 2. The winning player or team can end the game by completely decoding a mystery piece, or by scoring the required number of points. In general, it should be easier to completely decode the mystery piece before scoring the required points. 3. The Maestro game does not allow hints for intervals or motifs. 4. The Maestro game is used for all official tournaments. The only part of play that is new to this level is the decoding of the mystery piece. At the lower skill levels the decoding is done for you. The procedure for decoding your mystery piece is as follows: 29

30 1. Score some points on the game board, and finish your turn. The notation decoding screen will appear after every turn in which a player scores. The notes from the motifs that just scored on the game board (i.e. C E G) will be used automatically to expose any notes of the same pitch in the mystery piece. (i.e. the first C, and E, and G in the mystery piece will be decoded.) 2. Notes in motifs that have just been scored, but are not in the mystery piece, are converted into guesses. Each player will have a chance to use these guesses to further uncover or decode their own mystery piece before closing the notation screen. 3. The mystery piece will be displayed with hidden notes indicated by a question mark above the musical staff. Click on a 'guess' note and move it to where you think a hidden note is located in the mystery piece. Use the arrow buttons to move to a different time position or pitch. When you think the location is correct, click on the check mark. If you do not wish to take a chance right away you can accumulate your earned note guesses for a later time. 4. If your answer is correct, you will hear a ding. A buzz will indicate an incorrect placement. Notes placed correctly will uncover mystery notes, bringing you closer to the end of the game. Notes placed incorrectly will disappear, causing you to form more motifs to earn more guesses and uncover the mystery piece. 5. You may hear your mystery piece whenever you want by clicking the play button. You may be surprised, however, to hear that not all of the notes are there. Continue scoring to see how things develop. 6. Each mystery piece contains a similar number of notes, though the difficulty of the piece may vary from piece to piece, and genre to genre. 7. Official tournaments will restrict the pieces to Classical and Jazz in order to limit the difference in difficulty between mystery pieces. 8. When your opponent is attempting to decode their mystery piece, you will be temporarily unable to play your turn. Use this time to plan your next move. 30

31 Decoding screen shown below. 31

32 32

33 &RQQHFWLQJ2YHU7KH,QWHUQHW Opus offers two options to connect to other players on different PC's: Internet Server connection, or Local Area Network connection (LAN or IPX). For either method of connecting to a different PC to play Opus, follow the instructions below, after clicking the 'logon net' button on the main menu. 1. A peer-to-peer Local Area Network connection (IPX). This is a network between PC's usually connected in a single room, not normally extending beyond a single building. Opus uses IPX data packets to transfer game information between PC's. If your PC is connected to other PC's on a peer-to-peer network that supports IPX packets, choose LAN connection. 2. An internet server is the administrator of an Opus game that is played between two PC's over the internet. To begin an Opus game over the net choose Internet Server. 3. Once you have selected the type of network, type your name in the edit box on the top left of the form. This is the name that will appear to other players who want to play a network game. 4. Either create a game and wait for someone to join you, or find a previously created game, click on it, then click on the join button. 5. If you would like to broadcast a message to the other players on the network you can type the message and press enter. All players will see this message. 6. Once an opponent joins a game that is already created, the start game form appears. At this point, follow all the directions in the 'Playing Your First Game' section above. 33

34 34

35 6HWWLQJV The following settings are available from the main menu of Opus 1: Challenger. 1. Display: Choose your graphic display mode 2. Introduction: Play or skip the opening movie when starting up Challenger. 3. Log-in Music: Turn on or off the music when choosing your category from the login screen. 4. Moving Graphics: Turn on or off the animated visual effects within the game. Turning this option off may increase performance. 5. Card Hints: Turn on or off the hints that indicate the number of semitones for each card. To aid in the learning process, it is recommended that this setting be turned off soon. 6. Play-Back Delay: Set the delay between moves when reviewing a recorded game. 7. Note Sounds: Turn on or off the sounds of notes playing when selected on the game board, and when a motif is played back in the score window. Select Ascend or Descend to affect the way in which Challenger plays back intervals during game play. 8. Voice: Turn on or off the voice prompts during game play and the playing back of a game. Deselect individual items to customize when voice prompts are heard. 9. Volume: Set volume for MIDI note sounds and voice prompts. 35

36 36

37 )$4 1. Where can I find detailed instructions on game play in the software? Game play is described in detail in the Opus help, on the main menu. You can also access the help by clicking on the Windows Start button, then Programs- Opus-Opus1 Help. 2. What can I do to improve the performance of Opus on my system? Opus 1: Challenger was designed to run on PC's with 2MB or higher graphics cards, and 32 Megabytes or more RAM, on a Pentium 150MHz class PC or better. If performance is too slow for your liking, you can use the program setting to remove some of the graphical load from your PC. Try turning off your animation by clicking the 'Moving Graphics Off', option in the Settings. 3. Startup takes too long, and I have already seen it a few dozen times. Do I have to wait for this every time I start the game? No, the introduction can be avoided, as follows. During startup you will see some scrolling text on the screen. As soon as this text is visible, you can cancel the entire introduction of Challenger by pressing the Esc key. You can also avoid the Intro movie for good when starting the game by selecting the 'Opening Movie Off', option from within the settings. 4. I would like to disable the voice that says, ' Illegal Move', and, 'End of Turn'. How do I play the game without the voice prompts? This is a setting that can be disabled from within Opus 1 Settings option on the main menu. 5. Where do I find out about Internet tournament schedules? The schedule will be available on the web, and will normally be distributed to registered professors at least one month in advance. 37

38 6. How do I improve my Challenger playing ability? Challenger is a combination between chess, scrabble, and music. The best way to improve is to understand the musical building blocks on which the game rules are based. These are musical motifs - scales and chords of all kinds, and the intervals that are used to move your pieces on the game board. The next step to improvement is to practice playing others that are difficult to beat. When you are practising by yourself, be sure to explore several move options for each card, and try to build a 'vocabulary' of motifs that you can construct off the top of your head. After playing several games of Opus, try to play without the interval card hints so that this doesn't limit your ability to think ahead. Use all your options in a game - kickbacks, scoring on your opponent's motif, blocking your opponent's motif, and scoring several motifs in a single note placement. The advanced play adds musical composition to the challenge, and this maestro level has been selected for tournament play. Tournaments will restrict the genres of music. 7. What about upgrades to the product? Opus upgrades will be made on the Adventus website on a regular basis. 8. How do I contact the creator of the game? Opus 1: Challenger was created by Kenneth M. Davidson, Acadia University. The software version of the program was developed by Adventus Incorporated, the publisher of the MUSIQ Series. The creator of Opus 1: Challenger, Ken Davidson, can be contacted by sending to: support@adventus.com with the subject header (forward to Opus Creator). 38

39 &KDUWVDQG/LVWV8VHGLQ2SXV A complete list of acceptable motifs, stated as note letter names, can be found on the following pages. Players must refer to these lists for verification of acceptable motifs since some of the less common scales and chords are not used in Challenger. At the top right corner of the game board a staff icon lists all the motifs in both notation and letter names. a) TRIAD MOTIFS (three note chords) Major Root Position First Inversion Second Inversion ( *, *, (, ( * ( *, *, (, ( * )G + &G + &G )G &G )G + ) + & + & ) & ) + *G, 'G, 'G *G 'G *G, *, ', ' * ' *, + & ( & ( + ( + & + & ( & ( + ( + &,G 'G )G 'G )G,G )G,G 'G, ' ) ' ), ), ' &G ( *G ( *G &G *G &G ( & ( * ( * & * & ( 'G ) + ) + 'G + 'G ) ' ) + ) + ' + ' ) (G *G,G *G,G (G,G (G *G Minor ( *G, *G, (, ( *G ( *, *, (, ( * )G +G &G +G &G )G &G )G +G ) + & + & ) & ) + ) + & + & ) & ) + *G,G 'G,G 'G *G 'G *G,G *, ', ' * ' *, + &G ( &G ( + ( + &G + & ( & ( + ( + &,G & )G & )G,G )G,G &, 'G ) 'G ), ), 'G, ' ) ' ), ), ' &G (G *G (G *G &G *G &G (G 39

40 Minor Triads (continued) Diminished & ( * ( * & * & ( & ( * ( * & * & ( 'G )G + )G + 'G + 'G )G ' ) + ) + ' + ' ) (G ),G ),G (G,G (G ) Root Position First Inversion Second Inversion ( *G,G *G,G (,G ( *G ( *, *, (, ( * )G +G, +G, )G, )G +G ) + &G + &G ) &G ) + ) + & + & ) & ) + *G,G &,G & *G & *G,G *, 'G, 'G * 'G *, + &G (G &G (G + (G + &G + & ( & ( + ( + &,G & ( & (,G (,G &, 'G )G 'G )G, )G, 'G, ' ) ' ), ), ' &G (G ) (G ) &G ) &G (G & ( *G ( *G & *G & ( & ( * ( * & * & ( 'G )G +G )G +G 'G +G 'G )G ' ) + ) + ' + ' ) (G ) + ) + (G + (G ) ' ) + ) + ' + ' ) Augmented ( *, *, (, ( * ( * & * & ( & ( * )G + & + & )G & )G + ) + & + & ) & ) + *G, ', ' *G ' *G, *, ', ' * ' *, + & ( & ( + ( + & + & ) & ) + ) + &,G 'G ) 'G ),G ),G 'G, ' ) ' ), ), ' &G ( * ( * &G * &G ( & ( * ( * & * & ( 'G ) + ) + 'G + 'G ) ' ), ), ', ' ) (G *G, *G, (G, (G *G 40

41 Note: The ' * ' beside certain triads indicates those triads requiring the double sharp or double flat. Since these symbols are not used in Challenger the enharmonic name is permitted. b) TETRACHORDS Four note motifs. Only the upper tetrachords (1st Four notes) and lower tetrachords (last four notes) of the major scale are acceptable. Lower tetrachord Upper tetrachord ( ) * +, & ' ( ( ) * +, & ' ( )G *G +,G &G 'G ( )G ) * +, & ' ( ) *G +, &G 'G ( ) *G * +, & ' ( ) * +, & 'G ( ) * + +, & ' ( ) * +,G &G 'G (G )G *G +,G, & ' ( ) * +, &G 'G ( )G *G +, &G & ' ( ) * +, & 'G ( ) *G +, & 'G ' ( ) * +, & ' (G )G *G +G,G &G 'G (G c) PENTATONIC SCALES Five note scales in relative major and minor keys Major Pentatonic Minor Pentatonic ( ) *, & & ( ) *, ( ) *, & & ( ) *, )G *G + &G 'G 'G )G *G + &G ) * + & ' ' ) * + & *G +, 'G ( ( *G +, 'G * +, ' ( ( * +, ' +, & ( ) ) +, & ( +, & ( ) ) +, & (,G &G 'G )G *G *G,G &G 'G )G, & ' ) * *, & ' ) &G 'G ( *G + + &G 'G ( *G 41

42 Pentatonic (continued) & ' ( * + + & ' ( * 'G ( ) +,, 'G ( ) + ' ( ) +,, ' ( ) + (G )G *G,G &G &G (G )G *G,G Pentatonic major and minor scales may be written in ascending or descending order which simply means that the first note, the tonic, can be placed at either end. d) MAJOR SCALES: Stated in all possible written keys KEY ( ) * +, & ' ( ( ) * +, & ' ( )G *G +,G &G 'G ( )G Enharmonic ) * +, & ' ( ) *G +, &G 'G ( ) *G * +, & ' ( ) * +, & 'G ( ) * + +, & ' ( ) * +,G &G 'G (G )G *G +,G Enharmonic, & ' ( ) * +, &G 'G ( )G *G +, &G & ' ( ) * +, & 'G ( ) *G +, & 'G ' ( ) * +, & ' (G )G *G +G,G &G 'G (G Enharmonic 42

43 NOTE: All major scales listed on the previous page may be stated in any of their relative modes by simply beginning on another starting point and ascending one octave from there. For example, if D were used as a starting point of the first scale in this list, the new scale would be D Dorian. The modal name for any of the major scales listed here is 'IONIAN'. The DORIAN mode is produced by starting on the 2nd step. The 3rd - PHRYGIAN, 4th - LYDIAN, 5th - MIXOLYDIAN, 6th - AEOLIAN (ALSO called Relative minor or Natural minor), and 7th - LOCRIAN. e) HARMONIC MINOR SCALES In these scales the 7th step of the Natural minor has been raised one semitone. The Natural minor scale is found by beginning on the 6th step of any major scale and ascending one octave. The Natural minor scale is also called the Aeolian mode. KEY & ' ( ) * +, & & ' ( ) * +,]ZXJ& & 'G ( )G *G +,G & 'G ' ( ) * +, & ' ( ) *G +, &G ' ( ( ) * +, & ' ( ) * +, & 'G ( ) ) * +, & ' (]ZXJ) ) *G +,G &G 'G (G ) *G * +, & ' ( ) * +, &G 'G ( )G * + +, & ' ( ) * +, & 'G ( ) *G +,, & ' ( ) * +]ZXJ,, &G 'G (G )G *G +G, &G 43

44 f) MELODIC MINOR SCALES These are minor scales where the 6th and 7th steps of the Natural minor scale have been raised one semitone ascending only. KEY & ' ( ) * +, & & ' ( ) * +]ZXJ,,]ZXJ& & 'G ( )G *G +, & 'G ' ( ) * +, & ' ( ) *G +, & ' ( ( ) * +, & ' ( ) * +, & ' ( ) ) * +, & ' (]ZXJ) ) *G +,G &G 'G ( ) *G * +, & ' ( ) * +, &G 'G ( ) * + +, & ' ( ) * +, & 'G ( ) * +,, & ' ( ) * +]ZXJ,, &G 'G (G )G *G +, &G g) AUGMENTED SCALES These six note scales consist of whole steps only. While there are 15 written keys, there are only two distinct augmented or 'whole tone' scales. The others are written by simply beginning on a different step of the two stated here. An augmented scale may begin on any note and progress through a six NOTE whole tone pattern. Enharmonic note names may be used in writing an augmented scale. This scale need not follow a strict alphabetical sequence. 44

45 Here are the two possible extended sequences from which any whole-tone scale may be written. The OCTAVE cannot be used in this scale. +G,G &G 'G ( ) * +, & ' ) +, & ' ( ) *, & ' ( ) Note: Once an augmented scale has scored points, no more points will be earned by the addition of more notes to the existing sequence because essentially the scale remains the same. Even branching off from a point would not change the scale. h) DIMINISHED SCALES These eight-note scales consist of alternating whole-step/half-step sequences. The diminished scale may begin with either a whole-step or a half-step as long as the same pattern alternates throughout. The OCTAVE is not used in the diminished scale. In the case of the double sharp or double flat, the enharmonic equivalent may be used, and the scale need not follow a strict alphabetical sequence. There are only three possible diminished scales. Points will not be earned by adding to an existing sequence since the scale essentially would remain the same. However, branching off from one note of a diminished scale may create one of the two other diminished scales and therefore would score. Scale 1: ( ) *G +,G &G & ' Scale 2: ( )G *G +G,G, & 'G Scale 3: ( ) * +, &G 'G (G i) The following charts identifies the flip sides (enharmonic names) of the NOTES in Challenger. Red Starting Point ( ( ) ) * + +,, & & '? Flip Side of each of the above notes ' )G ) *G +G *,G, &G & 'G (G? 45

46 Blue Starting Point? ' 'G & &G, + + * *G ) )G ( Flip Side of each of the above notes? (G & &,,,G + +G ) ) ( ' j) This chart gives the enharmonic equivalent of notes for which there are no game pieces in Challenger. When this note is needed... Use this note &, ' & ) ( * ), + (] ) +],,] A 46

47 k) Interval Charts This Chart lists all the simple intervals and inversions with the respective size of each interval in semitones. Major Intervals Inverted Symbol Semitones Symbol Semitones Minor Intervals Inverted Symbol Semitones Symbol Semitones Perfect Intervals Inverted Symbol Semitones Symbol Semitones

48 Diminished Intervals Inverted Symbol Semitones Symbol Semitones 1 1 ] ] ] ] ] ] ] ]1 1 Augmented Intervals Inverted Symbol Semitones Symbol Semitones ] ] ] ] ] ] ] ]

49 6WUDWHJLHVDQG7LSV This section provides ways in which to improve proficiency in the early developmental stages of Challenger. The aim here is to kick start new players by suggesting ways in which the game may progress a little more quickly and to make the points come more easily. An advanced text containing many illustrated techniques will be available later. 1. Study your cards carefully. Check to see the different directions and distances determined by the cards. And keep in mind that more than one card may be required to move a note to a desired scoring destination. Plan ahead. 2. Study your opponent's cards too. While you are planning your moves you must be aware that your opponent will try to take advantage of your intentions, thwart your attempts, and even score using motifs you have set up for yourself. This is a game where cards of both players are exposed. You can take advantage of this and prevent unexpected kickbacks or try to predict your opponent's game strategy. So, before you leave an incomplete motif dangling check your opponent's notes and cards. You may be setting things up for points that aren't your own. 3. Get as many of your notes onto the board as soon as possible. They cannot score if they remain in their starting positions. However, there may be times when a note might be allowed to lurk in its starting position and jump onto the board to make a sudden kickback or land appropriately in a scoring position. 4. Remember you can add notes to a pattern begun by your opponent or score by adding your notes to that of your opponent's. So when playing, don't just think about your own notes, realize that you have 26 notes to work with, even though you can only move the 13 you own. 5. Try to avoid thinking small. Once you have scored with some simple motifs review the charts and lists often for new sequences. Think about all your notes as your team and make use of all of them. 6. When cards and notes are selected you will always hear the sounds of the intervals they produce. It is hoped that you will learn to recognize these sounds so that eventually you will respond to what you hear and move according to the sound. For example, if you select a ^TZ\NQQMJFWYMJXTZSITKFXRFQQNSYJW[FQ FSIWJFQN_J^TZ\NQQGJRT[NSLFXMTWYINXYFSHJ 49

50 &YYMJKNWXYYMWJJUQF^NSLQJ[JQX^TZ\NQQXJJYMJIJHTINSLUFLJFUUJFWFX^TZ JFWSUTNSYX9FPJYMJYNRJYTUQF^GFHPYMJRZXNHFSIXYZI^YMJSTYFYNTSFXNY IJ[JQTUXYMWTZLMTZYYMJLFRJ>TZ\NQQMF[JYTITYMJIJHTINSLTS^TZWT\SFY YMJRFJXYWTQJ[JQ 1JFWSFGTZYTUUTXNYJX9MJNSYJW[FQXRFOTWFSIRNSTWFWJTUUTXNYJXFXFWJ r diminished and ] augmented. To move a desired number of squares you may have to play two cards. One to move a note forward, the other backward; or one up, the other down. The net or resulting distance may put you on the square you want. 9. The perfect interval card is everyone's favourite Trying to count squares diagonally may sometimes be tricky and there is a trick to it. Take a moment some time and place a note about the centre of a hand drawn game board or grid paper. Consider the perfect intervals one at a time and mark an X on all the possible squares you could land a note moving diagonally in all directions. Remember, you don't have to move in a straight line as long as you maintain a corner-to-corner pattern. By doing this little exercise you will find a pattern emerging which can be quite useful during play. 10. Remember intervals can all be inverted to produce movement in the opposite direction. Learning about inversions is almost like having a hand of more than five cards. 50

51 &KDOOHQJHU6NLOOV/RJ For all players of Opus 1: Challenger this section of the manual offers an invaluable method for developing the highest level of skill. The objective here is to provide a training ground on which a student can systematically work through a checklist of the greater number of musical devices common to western music and found here in Challenger. As explained earlier in the introduction there are literally hundreds of musical devices that are available, and points can be earned by using a limited number of these. However, by becoming aware of the materials in this checklist players will become better equipped to score more quickly and easily. This approach is highly recommended for those interested in reaching the maestro level and eventual tournament play. There are seven steps to progress through before one can claim to be maestro or tournament ready. As you progress through the seven steps you may find opportunities to write motifs at another level. This is not discouraged providing it is recorded in the log and you attempt to stick reasonably close to the progressive order. Each motif that you enter into the log must be new and different. Each of the seven levels will tell you the quantity and type (e.g. major scale, triad, etc.) of motifs you must complete before moving to the next level. As you progress through the levels you will discover you do have the freedom to pick and choose some of the motifs yourself. This permits greater flexibility and is less restrictive allowing the game to flow more naturally without detracting from its playability. Here are the names of the seven steps with corresponding game levels. 1. Tonic Beginner playing level 2. Supertonic Intermediate 3. Mediant Intermediate 4. Subdominant Advanced 5. Dominant Advanced 6. Submediant Advanced 7. Leading Tone Maestro 51

52 Challenger Skills Log 1. Tonic (set Challenger login at beginner level) Objective: 10 Triads (two Root position, two 1st Inversion, two 2nd Inversion, 4 of your choice) 2 Tetrachords 3 Pentatonic Major Scales 2 Major Scales 1 Kickback Game & Score Record Player Name Date Score Date Score Date Score 52

53 (circle the motifs as completed, write your own in the blanks) TRIADS: (Recommended at this level) ( *, ) + & *, ( + & ), ( * & ) + TETRACHORDS: (circle as completed) C D E F ) * +, PENTATONIC: C D E G A F G A C D MAJOR SCALES: C D E F G A B C G A B C D E +, KICKBACK: Which Note? 2. Supertonic (set Challenger login at intermediate level) Objective: 10 Triads (two Root, two 1st Inv., two 2nd Inv. four own choice) 4 Tetrachords 4 Pentatonic Major Scales 4 Major Scales 2 Natural Minor Scales 2 Kickbacks 53

54 Game & Score Record Player Name Date Score Date Score Date Score TRIADS: (circle the motifs as completed, write your own in the blanks), ' ) ' ), & ( * ( * & 'G ) + ) + 'G Own choice: TETRACHORDS: & ' ( ) *G +, &G &G 'G ( )G ' ( ) * PENTATONIC: G A B D E 'G ( ) +, ) * + & ' & ' ( * + 54

55 MAJOR SCALES: +, & 'G ( ) * + ) * +, & ' ( ) 'G ( ) *G +, & 'G & ' ( ) * +, & NATURAL MINOR SCALES: A B C D E F G A * +, & ' ( ) * KICKBACKS: Note name: Note name: 3. Mediant (set Challenger login at intermediate level) Objective: 10 Triads (your choice) 4 Tetrachords 4 Pentatonic Major Scales 2 Pentatonic minor scales 4 Major Scales 2 Minor harmonic Scales 2 Kickbacks 55

56 Game & Score Record Player Name Date Score Date Score Date Score TRIADS: (circle the motifs as completed, write your own in the blanks) Own choice: TETRACHORDS: 'G ( ) *G +, & 'G * +, &, & ' ( PENTATONIC: *G +, 'G ( * +, ' ( &G 'G ( *G + ' ( ) +, 56

57 PENTATONIC MINOR: A C D E G D F G A C MAJOR SCALES: * +, & ' ( ) * *G +, &G 'G ( ) *G &G 'G ( )G *G +, &G ' ( ) * +, & ' HARMONIC MINOR SCALES: A ' ( ) * +, & * +, & ' ( ) * KICKBACKS: Note name: Note name: 4. Subdominant (set Challenger login at advanced level) Objective: 10 Triads (own choice, do not include repeats from other levels) 3 Tetrachords 4 Major Pentatonic Scales 4 Minor Pentatonic Scales 3 Major Scales 4 Modes 2 Minor harmonic Scales 2 Melodic minor Scale 1 Kickback 57

58 Game & Score Record Player Name Date Score Date Score Date Score TRIADS: (circle the motifs as completed, write your own in the blanks) Own choice: TETRACHORDS: , & ',G &G 'G (G )G *G +,G PENTATONIC: )G *G + &G 'G +, & ( ),G &G 'G )G *G (G )G *G,G &G 58

59 PENTATONIC MINOR: E G A B D, 'G ( ) + ' ) * +, + & ' ( * MAJOR SCALES: +, & ' ( ) * + )G *G +,G &G 'G ( )G,G &G 'G (G )G *G +,G MODES: D (Dorian) D E F G A B C D E (Phrygian) E F G A B C D E F (Lydian) F G A B C D E F G (Mixolydian) G A B C D E F G HARMONIC MINOR SCALES: ) * +, & 'G ( ) ' ( ) * +, & ' MELODIC MINOR SCALES: (Ascending only) A B C D E +, & D E F G A B ( ) KICKBACK: Note name: 5. Dominant (set Challenger login at advanced level) Objective: 10 Triads 2 Tetrachords 2 Pentatonic major scales 1 Pentatonic minor scale 2 Major Scales 4 Modes 3 Natural minor scales 3 Harmonic minor scales 3 Melodic minor scales 2 Kickbacks 59

60 Game & Score Record Player Name Date Score Date Score Date Score (circle the motifs as completed, write your own in the blanks) TRIADS: Own choice: TETRACHORDS: ( ) * + (G )G *G +G PENTATONIC MAJOR SCALE: Your Choice #1 Your Choice #2 60

61 PENTATONIC MINOR SCALE: Your Choice (1 only) MAJOR SCALES: ( ) * +, & ' ( (G )G *G +G,G &G 'G (G MODES: A (Dorian) A B C D E + G A B (Phrygian) B C D E + G A B C (Lydian) C D E + G A B C D (Mixolydian) D E + G A B C D NATURAL MINOR SCALES: ) * +, & 'G ( ), & 'G ( ) *G +, +, & ' ( ) * + HARMONIC MINOR SCALES: ( ) *G +, &G ' ( +, & ' ( ) * + ( ) * +, & ' ( MELODIC MINOR SCALES: (ascending only) * +, & ' ( ) *, & ' ( ) * +],ZXJ,KTW+]double sharp +, & ' ( ) * + KICKBACKS: Note name: Note name: 61

62 6. Submediant (set Challenger login at advanced level) 12 Triads: major, minor, diminished, and augmented (3 of each) 8 Scales or modes (Own choice other than Aeolian) 1 Augmented scale 1 Diminished scale 3 Natural minor scales 3 Harmonic minor scales 3 Melodic minor scales 2 Kickbacks Game & Score Record Player Name Date Score Date Score Date Score 62

63 (circle the motifs as completed, write your own in the blanks) TRIADS: (root position or 1st or 2nd Inv.) Own choice major Own choice minor Own choice dim Own choice aug MAJOR SCALES: (Your choice) AUGMENTED SCALE: ( ) * +, & DIMINISHED SCALE:, &G 'G (G )G ) * + NATURAL MINOR SCALES: (Your choice) HARMONIC MINOR SCALES: (Your choice)

64 MELODIC MINOR SCALES: (Your choice, ascending only) KICKBACKS: Note name: Note name: 7. Leading Tone (set Challenger login at Maestro level) 4 Triads, own choice 8 Major scales or any mode 4 Tetrachords 2 Pentatonic major 2 Pentatonic minor 1 Augmented scale 2 Diminished scales 1 Natural minor scales 1 Harmonic minor scales 1 Melodic minor scales 2 Kickbacks 64

65 Game & Score Record Player Name Date Score Date Score Date Score (circle the motifs as completed, write your own in the blanks) TRIADS: (root position or 1st or 2nd Inv.) Any four of your choice: MAJOR SCALES OR MODES: (Your choice)

66 TETRACHORDS: (Any four of your choice) PENTATONIC MAJOR: (Any two of your choice) PENTATONIC MINOR: (Any two of your choice) AUGMENTED SCALE: ( ) *, & ' DIMINISHED SCALE:, & 'G ( )G *G * + (Your choice but different from above and in level 6) NATURAL MINOR SCALES: (Your choice, only one) HARMONIC MINOR SCALES: (Your choice, only one) MELODIC MINOR SCALES: (Your choice, only one) KICKBACKS: Note name: Note name: 66

67 1RWDWHG0RWLIV 67

68 68

69 69

70 70

71 71

72 72

73 73

74 74

75 NOTES

76 NOTES

77 NOTES

78 $GYHQWXV,QWHUDFWLYH0XVLF3URGXFWV 2bY^W_eddXURUcdY^i_ebcdeTU^dcgYdXdXURUcdY^]ecYS UTeSQdY_^dUSX^_\_Wi 3LDQR6XLWH3UHPLHU<UQb^`\QiSbUQdUQ^T]_bU Over 500 Pieces for 5 Skill Levels A comprehensive library of music for listening, learning, and playing. Includes Classical, Rock, Jazz, Folk, Children's, Anthems, Christmas and more, with 65 licensed pieces by The Beatles, Elvis, Willie Nelson, R.E.M., Barbra Streisand, Frank Sinatra, Whitney Houston, and many others. Interactive Learning Methods Three vivid, intuitive learning methods promote sight reading and proper playing skills. The learning process is both effective and enjoyable with interactive feedback that motivates your students to progress, while the extensive song list ensures their interest. Students can select notation size, and practice any portion (or all) of a piece with both hands or either hand alone, with detailed printable reports. Complete, 2-Year Music Theory Course Interactive theory course provides the essential rudiments to play any instrument, with 120 practice exercises for the keyboard. Progress through theory at your own pace, with helpful illustrations and animations in this fully-narrated curriculum. Full-featured Composer and Editor You and your students can create, edit, and print your own multi-track arrangements with lyrics and fingering. Your work can be saved in MIDI format or to the library for others to play or practice. 9 Great Musical Games and much more... Detailed evaluation, progress reports, biographies, animations, song recordings, and more. NEW! Now you can take an instructor-led lesson over the Internet! Visit the Adventus web site, for more details. Ages 5 to adult

79 3LDQR6XLWH'HOX[H DXUS_]`\UdU]ecYS\UQb^Y^W`QS[QWUV_bdXUS\Qccb ]_bx_]u Piano Suite Premier software is included in this bundle along with a velocitysensing Studio 49 keyboard from Fatar, 12' MIDIsoundcard cable, and power adapter! (DU7UDLQLQJ&RDFK 1dQ[UX_]US_QSXdXQd]Q[Uc\UQb^Y^WVe^ Ear Training Coach is an exciting and interactive way of developing ear training and sight-reading skills. Enjoy activities, and assessment for grades 1 through 10 while preparing for RCM exams. Each Ear Training Coach CD contains 2 full grade levels of practice activities. Students will play back musical passages by ear, read music at sight and learn to discern pitches, intervals, scales, chords and rhythms. Includes skill building games: Tune Twister, Tune Walk, Skaler, Replay, and Grand Staff Battle to keep the learning fun. $GYHQWXV6RIWZDUH 8U\`Y^WcdeTU^dc7Ud=ecYSQ\ ZZZDGYHQWXVFRP