MUSI 1116: Weekly Musicianship Assignments

Transcription

1 MUSI 1116: Weekly Musicianship Assignments (Tentative) General Suggestions and Directions: Plan to spend more than three hours outside class for each hour in class. This course should be fun for those who love music, but the course has the responsibility of preparing you with professional musical skills. Simply put: You must enjoy working very hard! Most of the learning of musicianship takes place in the practice room, not the classroom. As in lessons on the piano or any other instrument, the 7teacher s feedback primarily encourages you and guides you in your daily practice during the week. You should practice all assigned exercises a little every day. You will acquire each skill most efficiently with highly-focused attention for a few minutes each day as many former students can attest, a few long sessions of equivalent time practicing sight singing or ear training will not benefit you over the long run. Because of class sizes and limited class time, we will not be able to cover every skill and topic each week. Nevertheless, you should be progressing on all your skills by working regularly on your own. You will eventually be expected to demonstrate your increasing skill level in every type of exercise in class and in individual exams. Review what we did in class and the feedback you receive from your fellow students and your instructor immediately after class. Your grasp of the material will hinge on learning from others feedback. You should also learn from feedback on your classmates performances and answers to their questions. Through such learning opportunities, you will eventually develop your ability to critically evaluate your own performances and to teach yourself how to refine your own musicianship. Trust that you will acquire skills over the span of several months, if you follow the above recommendations on persistent practicing. I.e., have patience with yourself. Also, admit when you need help or need to ask a question of the instructor, a peer, or the class. If you are planning to miss some classes or know you will be especially busy during a particular week, look ahead in the projected assignments on the webpages and start the assignments early. Skills courses are necessarily cumulative, and you never can just skip a chapter. Unless if explicitly noted, assignments are due on the day they appear on the syllabus! E.g., musicianship exercises listed under 9/2 should be prepared for 9/2. (Warning: This is different than on the written theory assignment sheets!!!) Remember that these projected assignments are subject to revision due to the needs of the particular class. Pick partners with whom you can practice duets and other musicianship exercises at home. Remember to bring all your musicianship books to class, esp. Hall and Berkowitz. Page 1 of 26

2 Course Goals Please see the expected competencies listed in the course syllabus. By the end of the semester, you will have learned the following musicianship skills: A. Pitch Issues 1. Read fluently treble, bass and alto clefs. Mere familiarity with tenor clef expected. 2. Use moveable-do solfège fluently, where do is tonic in both major & minor keys, and using solfège to hear and produce melodic lines and scale-degree resolutions. 3. Sing and recognize major, natural minor, harmonic minor, and melodic minor scales. 4. Sing and recognize all intervals up to P8 (melodic up & down and harmonic). 5. Sing simple, diatonic melodies with solfège and conducting. 6. Aurally recognize chord qualities (M, m, A, d, mm7, etc.) and isolated triads in inv. 7. Sing any triad in root position and inversions with a fixed bass note in closed position. 8. Sing any seventh chord in root position from a fixed bass note. 9. Aurally recognize standard cadences (PAC, IAC, DC, PC, and HC). 10. Dictate simple, diatonic melodies in common meters (4 8 bars). B. Rhythmic Issues 1. Conduct and perform rhythms and melodies in 2/4, 3/4, 4/4, 6/8 meters. 2. Perform rhythmic values including eighth and sixteenth notes and rests. 3. Dictate eight bars of one- or two-part rhythms in the above meters. 4. Identify meters aurally; i.e., determine the number of beats and compound vs. simple meters. C. Harmonic and Keyboard Issues 1. Play basic PAC formulas in continuo style at the keyboard. 2. Play basic figured basses with 5/3, 6/3, and 6/4 chords of 2 4 measures length. 3. Harmonize straightforward melodies at the keyboard with triads in continuo style. 4. Play elementary sing-and-play exercises. 5. Perform simple two-handed accompaniments (primarily with block chords). 6. Recognize diatonic harmonies when performing (analysis at sight). 7. Dictate two-part melodies, including first- and second-species counterpoints. 8. Identify rudimentary 4v common diatonic harmonic progressions with root, first-, and second-inversion harmonies involving inversions. D. General Musicianship 1. Sight read new melodies and rhythms involving the above elements. 2. Improvise rudimentary melodies and harmonies using the above elements. 3. Be able to keep a steady tempo without stopping (despite any mistakes). 4. Develop facility at recovering gracefully from mistakes. 5. Learn how to practice, how to refine one s musical skills on one s own, and how to acquire new musicianship skills. Page 2 of 26

3 Performance Assignments (tentative assignments) *** OLD *** NOT UPDATED TO NEW EDITION YET Week Hall Melodies Duets Sing&Play Variations Literature 1 Ch none none none 2 Ch none 1 5,9 3 Ch ** 3 6,11 12* none 7 8,11,14 4 Ch ,13 12a none 10, Ch ,26 12a&b none Ch ,26,29 none 30 all* 6,29 7 Ch ,29 30 review 30 all* Ch. 4 review review review review review 9 Ch none Ch. 5 none none Ch ,34 none 31 all* none 12 Ch none 30 none none 13 Ch none none 14 Ch. 7 review review review 32 all* review 15 review review review review review review Totals Ch 1 7 Section 1 Section 1 Section 1 Section 1 Section 1 New Topics simple & compound, dotted notes diatonic solfège, chord outlines ensemble, tuning basic S&P coordination same as S&P same as Melodies Hall: Rhythm exercises. Berkowitz: Melodies, duets, sing-and-play, and literature in the 6 th ed. *Variations are only in the 4 th ed: Page 3 of 26

4 Ear-training Assignments (tentative) Week Topic Intervals Scales Chords Rhythms Melodies Harm. Due 1 intro MG 1 2 scales MG 2 3 int MG 3 4 triads MG 4 5 rhy MG 5 6 dict MG 6 7 mel MG 7 8 midterm MG MG 9 10 RN MG th s MG harm MG MG MG master master master master master master MG master master master master master master MG 16 finals all all all all all all final MG Totals 1 10 of of of of of of of 97 Topics simple, melodic& harmonic major& minor triads inv &7 th root simple & compound skips I&V, anacrusis two chords (28% of all levels!) All assignments are with MacGamut *aural-training* exercises (not written nor keyboard ). Page 4 of 26

5 Week 1: Introduction to all the performance skills Goals: 1. Learn how to approach the learning of musicianship. 2. Learn the numbers and know about moveable-do solfège syllables and numbers. 3. Recognize and sing major and minor scales in tune and with solfège. 4. Learn rhythmic patterns in and conducting of 2/4, including beat numbers. 5. Register and familiarize yourself with the required ear-training software (MacGamut). Class: 0. Go through syllabus. Handouts and information on the course website for download, include Solfege Handout, Article on Solfege, Number Handout, Article on Numbers, Solfege Wedge. 1. Explain solfège and numbers with handouts, and how to do sight-singing in Berkowitz. Do not write the syllables in your book! 2. Practice solfege with Porterfield Supplement, pp. 1 3, 4 5 (on website). 2nds 3. Show how to practice rhythms in Hall with conducting and beat numbers. Mention the Takadimi system, but we will do 1&2& in this course. Do not write beat numbers in your book! 4. Explain briefly how to spell intervals and how to hear downwards melodic intervals on MacGamut: reverse the order, or use int. inv. Assignment for Week 1 (1/14, 1/16): Due 1/16 1. Hall: Read introduction; and, Hall, practice Chapter 1, pp. 2 and 6. Use 1&2& on the top parts. Play any bottom parts on the piano and hold out the notes correctly. Do not write the beat #s in your book that undermines what you re learning! 2. Berkowitz: Practice p. 5 #1 3; p. 8 #14; p. 270 #1 3 (duets). Learn solfège syllables & numbers, and perform melodies with them. Do not write the solfege in your book that undermines what you re learning! 3. Start MacGamut ear-training software immediately! a. Buy your copy of MacGamut online and register it immediately! b. The MacGamut people will send you an essential file (called startup.mgs) as an attachment. c. Keep the and its attachment in your account. d. Save the attachment safely on a USB disk and on your computer at home. Keep backups of your work both on your computer and in ! e. Do (Aural) Rhythms #1, and start next week s MG assignments now do a little on each required skill each day. Do not use the piano to help yourself on ear-training exercises. 4. Sing major and minor scales with solfège while walking between classes on campus, and use the solfège handouts ( Moveable-do Solfege handout with hand signs on back). TURN IN MacGamut 1 scores in the D2L dropbox before midnight on Sunday. The file will be the encrypted startup.mgs file, not a text file (*.txt). Make sure your name and submission Page 5 of 26

6 number are in the filename, e.g., JoeBloeMG1.mgs. You will have done Rhythms #1. Page 6 of 26

7 Week 2: Fundamentals: Major scales and Solfege Goals: 1. Sing major scales in tune. 2. Learn scalar motion. 3. Learn solfege for scales. In class: 1. Solfege and numbers. See handouts on website. Use Porterfield Supplement, pp (on website). 3rds 2. ET intervals (intervals quiz in two weeks). See Solfege Wedge (Singing Exercise #1) handout on website. 3. Quiz 9/8 over scales and memorization quiz on melody from SS Suggestion Sheet. See SS Suggestions handout on website. For me: 1. Send reminder :06AM about MG. Assignment for Week 2 (1/21, 1/23): Due 1/28 1. Berkowitz: Practice pp. 5 8#1 13; p. 9 #21 22; pp #4 6; p. 268 #1 2 (5 th ed). Scalar passages with movable-do solfège, conducting, and a steady tempo. Don t write the syllables in your book that undermines what you re learning! [Exercises from the old edition are provided in links on the course website (p. 268 is S&P from 5 th ed.).] 2. Hall: Practice Chapter 1, pp. 2 10, as needed to get the skills in every type of instance. Remember to try both one- and two-part rhythms, saying beat numbers and conducting ever stop and keep the beat rock solid. Also, improvise a melody to the words and rhythm on 1.U., on p. 8. And, do some improvisations on pp. 9 10! Do not write the beat #s in your book that undermines what you re learning! 3. MacGamut: Add (aural) Scales #1, Intervals #1. If necessary, finish last week s assignment. Do not use the piano to help yourself on ear-training exercises. 4. Solfege wedge up to P5 upwards and downwards. 5. Sing major and minor scales with solfege (cont d) TURN IN MacGamut 2 scores in the D2L dropbox before midnight on Sunday. You will have done Intervals #1, Scales #1, and Rhythms #1, OR a minimum of 20 mins. in each skill category. Page 7 of 26

8 How to practice play-and-sing (P&S) exercises: 1. Learn each line separately until they are secure. If P&S is particularly hard for you, memorize each part. 2. Once you know the parts well, then put them together in pairs, such as left-hand with the solfege. Take a slower tempo at first. 3. Only when that is easy, put all three parts together. 4. You may need to focus practicing on getting over the barlines, rather than having to play through it over and over with stops. This is often a change-of-hand-position problem (a keyboard issue). 5. Use the piano s sustain pedal to your advantage. Let it hold the chord for you and use that extra time created in between the chords to let your hand seek the next notes. 6. Use of standard fingerings for standard figures (scales, arpeggios, etc.) will help, but you may have to ask a keyboardists about that. (Fingering is not tested in this class.) 7. Practice in segments, such as two bars, until that s right. 8. If you must leave out something, leave out things that people don t notice much, such as playing octaves in the left hand or changing octaves in one hand or even changing the texture somewhat. Some professional pianists do this when accompanying, esp. when fast parallel third or sixths occur (e.g., Handel s Messiah, Bach cantatas, etc.). 9. Analyze what you are playing, so that you can not only understand what concepts the particular exercise is teaching (such as I IV V I) but also because that will help you remember how things are spelled and move, and where they are in the piece of music. And, knowing things about music helps with interpretation, which is a practiced thing too! 10. I.e., use all the parts of memory. Physical memory is helpful but unreliable in pressured situations. Aural memory is excellent. Use your theory knowledge, which is superior in many ways. 11. That said, you can also memorize the hand positions (somewhat physical memory), esp. like Shumway in many variation sets. 12. It is best to NOT play from brute-force memory, but from generating the music from your understanding. 13. If you play from the score which I recommend make sure to practice when you look down at your hands (or not) and looking back up to the spot you should be at on the score. Here s the oxymoron: Place that in your memory!!! Playing from a score one knows well is actually musicianship skill. Thing to consider and do in performance: 1. Use the sustain pedal to your advantage. Let it hold the chord for you and use that extra time created in between the chords to let your hand seek the next notes. 2. When a mistake occurs in the keyboard part, it is usually best to just leave the mistake and go on don't let it distract you. Unless one has secure skills, correcting the past will create more problems, because it requires so much attention to do that. 3. If you must leave out something, leave out things that people don t notice much, such as playing octaves in the left hand or changing octaves for the same pitch class in one hand. 4. Usually when solfege goes, the pitches and vocal line will crash. Students think solfege is a burden at first, but it is actually designed to improve your accuracy. 5. The least important part is the right hand! The melody is really important, and the bass is essentially to hearing function and supporting that melody. I.e., the outer-voice counterpoint. 6. Any major mistakes and stopping under pressure, such as a quiz, usually indicate that the skill is too weak for the selected tempo. I.e., you have probably not practiced often enough over long enough of a time span. 7. To solve this, select a very slow tempo, such that you have some opportunity to recover. Remembering and selecting tempi is part of musicmaking too! Page 8 of 26

9 Week 3: Fundamentals (continued) and the Tonic Triad (I) Goals: 1. Recognize triads when sight-singing, especially the tonic chord (do-mi-sol). 2. Introduce singing triads in root position. (A subject in week 4.) 3. Build coordination for keyboard and singing. Class: 1. Porterfield, Supplement, p. 23 (on website). 4ths/5ths 2. Hearing triad qualities in root position. 3. Quiz Monday: Hall, CH1, pp. 2 5 (single-line rhythmw/conducting and beat numbers). 4. Quiz Wednesday P&S p. 268 #2 3 (in old edition, 5 th ed, off website). (See on 3:55PM.) Assignment for Week 3 (1/28, 1/30): Due 2/4 1. Berkowitz: Practice p. 8 #15 20; p. 268 #2 3 (5 th ed.); p. 270 # Notice arpeggios of the tonic triad (do-mi-sol) in various orders. [Old editions are on the course website for downloading and printing; pp was eliminated from the 6 th ed] 2. Hall: Continue practice, Chapter 1, as needed. 3. MacGamut: Add (aural) Intervals #2, (aural) Scales #2. Try to attain mastery! Remember you will continue to work on all other skills that aren t up to level as well. 4. Chord Singing Handout, part 1 (5/3 triads), Evil Exercise #3. 5. Solfege wedge up to the P5 (cont d). 6. Sing scales with solfege (cont d) TURN IN MacGamut 3 scores in the D2L dropbox before midnight on Sunday. You will have done Intervals #2, Scales #2, and Rhythms #1, OR a minimum of 20 mins. in each skill category. Page 9 of 26

10 Week 4: Fundamentals: Minor scales and keys Goals: 1. Sing all minor scales in tune. 2. Sing tonic triad in minor. 3. Use solfege for minor keys. 4. Identify all three minor scales as well as major by sight and by ear. 5. Perform rhythms in 3/4 meter. In class: 1. Porterfield, Supplement, pp (on website). 6ths. 2. Go over dictation skills in class for next week s quiz, and give students hints on how to learn MacGamut melodies. 3. Go over how to hear triads in inversion: get the bass, figure out inv. from that not from distribution of voices! 4. Go through Hall (3/4). Also talk about hemiola and sesquialtera (taught concurrently in theory class this week). 5. Quiz Tuesday: Berkowitz of last week. 6. Quiz Thursday: Interval ID ear-training. 7. Prepare students for alto clef in Week 5. Assignment for Week 4 (2/4, 2/6): Due 2/11 1. Berkowitz: Practice Practice pp #30 36; pp #14 17; pp # Hall: Practice Chapter 2, pp Remember to learn the skills of every type of rhythmic figure and to do improvisations as well. 3. MacGamut: Add Chords #1 [triads in root] and Melodies #1. Remember you will continue to work on all other skills that aren t up to level as well. 4. Chord Singing Sheet, part 1 (cont d). 5. Solfege wedge up to the P5 (cont d). TURN IN MacGamut 4 scores in the D2L dropbox before midnight on Sunday. (You will have done Intervals #1 2, Scales #1 2, Chords #1, Rhythms #1, and Melodies #1, OR a minimum of 20 minutes since the last submission of MacGamut scores in each skill category.) MG Melodies #1 is based on arpeggiations of the tonic triad (1, 3, 5; do-mi-sol). Sing the tonic and cadential patterns to get the key before you start memorizing the tune and eventually dictating it. Notice the patterns to memorize each melody. Also, the melodies are usually four measures long and end with a standard perfect authentic cadence (1^ in soprano), or a half cadence (2^ or 7^ in the soprano). Page 10 of 26

11 Week 5: Fundamentals (continued) and Alto Clef Goals: 1. Read alto clef fluently. 2. Identify all common meters aurally (duple, triple, quadruple simple and compound meters). In Class: 1. Porterfield, Supplement, pp (on website). 7ths 2. Reinforce meter and rhythm chapters from K&P theory class, with Linker, Variations on O Waly Waly variations. 3. XXXXXXXXXQuiz Tuesday: Melodic dictation. 4. Quiz Thursday: play p. 335 #12a&b, with LH and solfege only. Extra credit if add RH. 5. Last year, did an early introduction to harmonic dictation (Shumway, p. 71#5): Dictate bass line by hearing goal points (cadences), same with melody, doing 1 st species, and then hearing chord qualities to determine RN and to review figured bass. Assignment for Week 5 (2/11, 2/13): Due 2/18 1. Berkowitz: Practice pp #40 49 (alto); pp #24 28; p. 335 #12a&b. While singing alto- and tenor-clef melodies, say the *note names* (not solfège). 2. Hall: Practice Chapter 2 (continued), as needed. 3. MacGamut: Add Intervals #3 4 and Chords #2. Try to attain mastery! Finish up any other assigned levels in the other skill categories as well. 4. Chord Singing Sheet, part 1 (cont d), as needed. 5. Solfege wedge up to the P5 (cont d), as needed. TURN IN MacGamut 5 scores in the D2L dropbox before midnight on Sunday. (You will have done Intervals #1 4, Scales #1 2, Chords #1 2, Rhythms #1, and Melodies #1, OR a minimum of 20 minutes since the last submission of MacGamut scores in each skill category.) Alto clef quiz next week on Tuesday. Prepare students carefully as it s hard for them to keep straight basic things while trying to say letter names: (1) step vs. leap (scale vs. arpeggio), (2) going the right direction when the melody takes a turn, (3) stopping and following the rhythm, (4) conducting. Page 11 of 26

12 Week 6: The Dominant Triad (V and V 7 ) Goals: 1. Sing the dominant triad (V), which includes identifying it visually: sol-ti-re. 2. Identify I and V chords aurally in major and *minor* keys. 3. Perform rhythms in 4/4 meter. In Class: 1. Talk about and start practicing for midterm, including alto clef. 2. How to hear all inversions of triads. 3. Tuesday quiz: alto-clef SS pp # Thursday quiz: chord ET, triads in root position. 5. Introduce Shumway Project 5 (figured basses with I & V in 5/3). 6. Reinforce rhythm and meter from theory class. for hemiola. Contrast against syncopation. Assignment for Week 6 (2/18, 2/20): Due 2/25 1. Berkowitz: pp (i in minor) and pp #67 75 (V in minor); pp #18, 26, 34; pp #15. Continue your practice on alto clefs, as needed. 2. Hall: Practice Chapter 3 (4/4), pp MacGamut: Add Rhythm #2 and Melodies #2. Attain mastery! 4. Review Solfege Wedge, Chord Singing Sheet part #1, scales with solfege. TURN IN MacGamut 6 scores in the D2L dropbox before midnight on Sunday. (You will have done Intervals #1 4, Scales #1 2, Chords #1 2, Rhythms #1 2, and Melodic #1 2, OR a minimum of 20 minutes since the last submission of MacGamut scores in each skill category.) Berkowitz: pp link is here: Intervals #5 involves harmonic intervals. Page 12 of 26

13 Week 7: Fundamentals and Triads (continued) Goals: 1. Aurally identify triads in first inversion do this in class! 2. Perform dots and ties in any simple meter. In Class: 1. Practice for midterm, including alto clef (a few weeks ago) and melodic minor (last week). 2. Tuesday quiz: Hall, CH4, two-part rhythms, pp Show Shumway, CH5, melody harmonization, if not done in piano classes this week. 4. Practice hearing errors in second species, purely by ear. 5. Work on associations between scale-degree functions and solfege, including various versions with major and minor keys. Include ID with soprano and ID with bass notes. 6. Sign up for Individual Exam #1. Assignment for Week 7 (2/25, 2/27): Due 3/4 1. Berkowitz: Practice pp #50 52 (follow directions in Berk.), 2. Hall: Practice Chapter 4 (dots & ties), pp MacGamut: Add Intervals #5 and Chords #3. Try to attain mastery! 4. Prepare for your musicianship midterms during week 8 (next week). TURN IN MacGamut 7 scores in the D2L dropbox before midnight on Sunday. (You will have done Intervals #1 5, Scales #1 2, Chords #1 3, Rhythms #1 2, and Melodic #1 2, OR a minimum of 20 minutes since the last submission of MacGamut scores in each skill category.) Page 13 of 26

14 Week 8: Midterms (Fundamentals) Goals: 1. Secure skills learned in first half of the semester. 2. Evaluate student progress and indicate areas needing improvement by finals week. 3. Aurally identify common diatonic harmonies from basslines by Roman numeral (Harmonic Dictation Patterns handout). Assignment for Week 8 (3/4, 3/6): This week. 1. Hall: Practice for midterm. 2. Berkowitz: Practice for midterm. 3. MacGamut: Add Intervals #6 and Melodies #3. Try to finish up all assigned levels in all skill categories. Test: 1. Individual Musicianship Test I (ten minutes to be scheduled in my office). a. Singing root-position M, m, +, and o triads from one given bass note with fixed-do solfege. (See first group on Chord Singing Handout.) b. Performance of two randomly-selected alto-clef melodies from Berkowitz, pp #54, 57, 96, 123, 141. For now, you can conduct the 2/2 meters in 4/4. (Remember you will sing these alto-clef melodies with letter names, with an unmarked copy of the music.) c. Performance of one melody using bass or trebles clefs, randomly selected from previous Berkowitz assignments, pp. 8 12, 16 18, using solfege. (No alto clefs) d. Performance of a one- or two-part rhythm randomly selected from Hall, Chapters 1 4. (No three-part nor improvisations for this test.) 2. Ear-training Test II (Wed.). a. Scale identification (major, natural minor, melodic minor, and harmonic minor). b. Interval identification (melodic up & down and harmonic). c. Triads in root position and their inversions (block chords and arpeggiated). d. Melodic dictation (like MacGamut or Berkowitz melodies). e. Rhythmic dictation (like MacGamut, or 1- & 2-part Hall rhythms). f. Meter identification (like in class). g. No Roman numeral identification nor any harmonic dictation. TURN IN MacGamut 8 scores in the D2L dropbox before midnight on Sunday. (You will have done Intervals #1 6, Scales #1 2, Chords #1 3, Rhythms #1 2, and Melodic #1 3, OR a minimum of 20 minutes beyond the last checkup in each skill category.) [If we do a take-home ET midterm, see the link on the course webpages. Stream the MP3 audio file in a player such as Windows Media Player, rather than downloading whole file at once. Do not do it at the last minute, because the school s network can t handle that much internet demand at once.] Page 14 of 26

15 Some reminders about how you will do the exercises during your individual exam: (a) Sing the chords up and down without stopping in between each chord. (b) Sung the alto-clef melodies with letters names (not solfège) while conducting. Don t say sharp nor flat while saying note names. (c) On one-part rhythms, you will conduct and say the rhythms with syllables. With two-part rhythms, count out a measure beforehand and then say the rhythms of the top part with syllables and play the bottom part on the piano you will not conduct while doing two-part rhythms. (d) Call out the Roman numerals, as applicable, while you play the keyboard exercises, and Page 15 of 26

16 Week 9: Spring Break In class: No Class Homework Assignment #9 (3/11, 3/13): This week. 1. Maintain previous skills. 2. MacGamut: Add Rhythm #3 and Harmonies #1. Remember to work on the others skills, if you haven t mastered the highest-assigned levels in those categories (or 30 min on each). TURN IN MacGamut 9 scores in the D2L dropbox before midnight on Sunday. (You will have done Intervals #1 6, Scales #1 2, Chords #1 3, Rhythms #1 3, Melodic #1 3, and Harmonies #1; OR a minimum of 20 minutes beyond the last checkup in each skill category.) Page 16 of 26

17 Week 10: Triads and Harmonic Function, IV chord Goals: 1. Recognize harmonies by getting solfege of basslines. 2. Recognize and singing IV chords (fa-la-do). In Class: 1. Go over how to do MG Harmonies: a. play & sing the tonic until you re securely in the key, b. get the bass on 1 st listening, c. soprano on 2 nd, and then d. figure out the implicit harmonies. On level 1, only I, IV, or V in 5/3 or 6/3. e. part-write inner voices with theory knowledge. Inner voices not graded. 2. Implicit harmonies by scale step in the bass from harm. dict. patterns handout: a. 1 = I (rarely vi 6 ) d. 4 = IV (ii 6 ) g. 7 = V 6 b. 2 = ii (vii o6 ) e. 5 = V c. 3 = I 6 (rarely iii) f. 6 = IV 6 (vi) Start with I, IV, V like MG Possible progressions in MG level 1: I-V, I-V 6, I-IV, I-IV 6, I-I 6, etc., and reverse order. p Forward entitled Harmonic Dictation on MacGamut from Anne Blombach, the programmer of MacGamut (11/10/2003) and point out MG Harm Dict Notes on website Monday: Quiz, Berkowitz p. 216 # Wednesday: Quiz, Berkowitz pp #22a&B. 6. Practice harmonic dictation with Shumway CH7 p. 32 #6 and O for a Thousand Tongues and aural analysis of opening of Sullivan s Ah! Love Me not to Pine Alone. Assignment for Week 10 (3/18, 3/20): Due 3/25 1. Berkowitz: Practice pp # (IV); p. 279 #37 38 (minor); pp #22a,b (P&S w/solfege), and #23a,b. 2. Hall: Practice Chapter 4 (continued). 3. MacGamut: Add Intervals #7 and Chords #4 [7 th chords in root]. 4. Chord Singing Sheet, part 2 (6/3 chords). TURN IN MacGamut 10 scores in the D2L dropbox before midnight on Sunday. (You will have done Intervals #1 7, Scales #1 2, Chords #1 4, Rhythms #1 3, Melodic #1 3, and Harmonies #1, OR a minimum of 20 minutes since the last checkup in each skill category. Remember to put in 20 minutes on Melodies, if didn t pass that level on the last checkup.) Page 17 of 26

18 Hearing RN: 1. Just know the sound (function) of each harmony (intuition); e.g., I sounds like home, V wants to go to home, IV sounds like Amen or a major-sonority pre-dominant. This is the best way, acquired through exposure. 2. Know how the harmony progresses; e.g., V goes to I (theory). 3. Know the sound of harmonic patterns (MacGamut), e.g., I >IV6, etc. 4. Hear the bassline and guess the most likely harmony for each scale degree (Harmonization Patterns handout); e.g., 5 is in the bass => V chord, 3 is in the bass I 6 chord. Distinguish between various options by hearing the chord quality and/or inversion. 5. Dictate the bass and soprano lines and do a full Roman-numeral analysis (theory). This is the most common method taught, and least used in real musical situations, other than in the practice room. Notice that nearly all approaches require hearing the bassline. Hear Inversion of Triads: 1. Just know the sound of it (intuition), often by the sense of stability. 5/3 is most stable, 6/3 is less stable, and 6/4 is unstable. 2. Know how the voice parts stereotypically move. Bass of 5/3 is stationary or leaps. Bass of 6/3 moves by step. Upper voices of 6/4 move downwards by step. 3. Count the number of thirds from the bass down to the root. If not thirds down (just P4 or TT), then, it s 5/3. If one third, it s 6/3. If two third down, then 6/4. This depends on the ability to sing and recognize thirds. 4. Sing all the pitches in the chord upwards from the bass and figure out the various intervals from the bass. This requires accuracy at octave transposition and interval ID. Notice nearly all approaches require hearing the bassline. Also, see the notes on MG harmonies on the website. Page 18 of 26

19 Week 11: Cadences, Compound Meter, 7ths, 6/3 chords Goals: 1. Identify standard cadences (PAC, IAC, plagal, deceptive, HC, and Phrygian HC). 2. Play authentic cadences in major keys. 3. Conduct, sing, and dictate in duple compound meters, e.g., 6/8 meter. 4. Seventh chord qualities (ET only) in root position. 5. Review harmonies I, IV, V in SS and ET. (Reinforced by Shumway in keyboard.) 6. Hearing 6/3 chords in harmonic dictation, esp. I 6, IV 6, V 6, and ii 6, vii o6, with scale degrees 3, 6, 7, 4, and 2 in the bass, respectively. In class: 1. Review MG Harmonic Dictation #1 from last week. 2. Introduce 6/8 meter: 1-ta-te 2-ta-te. Conduct in two compound beats, i.e., K&P CH2. 3. Do harmonic dictation, in particularly identifying dominant, tonic, and subdominant functions with Holy God, We Praise Thy Name (UMC p. 79), Fairest Lord Jesus (UMC p. 189), Christ is (UMC, p. 188) Thurs and Now Thank we All our God (UMC p. 102). Showed how you can guess chords from bassline and can use the x method to guess melodies (assuming you ve remembered the contour). Shumway p. 40#8 as practice. 4. Go through hearing seventh chords in root position. 5. Monday: harmonic dictation (2-part w/rn) from Shumway CH7 6. Wednesday: Rhythm quiz, Hall CH5 (6/8 meter). Did 2 nd ED p. 1 at desk as review. 7. Introduce RN analysis and accomp. Assignment for Week 11 (3/25, 3/27): Due 4/1 1.Berkowitz: Practice pp #76 79 (6/8); pp #41, 44 (duet); p. 341 #28 (P&S). 2. Hall: Practice Chapter 5, p. 27 and p. 29 #5.G, 5.H. (Remember 1 ta te 2 ta te.)3. MacGamut: Add Intervals #8 and Harmonies #2. Keep on working on any other ear-training you haven t mastered! 4. Chord Singing Sheet, part 2 (cont d). TURN IN MacGamut 11 scores in the D2L dropbox before midnight on Sunday. (You will have done Intervals #1 8, Scales #1 2, Chords #1 4, Rhythms #1 3, Melodic #1 3, and Harmonies #1 2, OR a minimum of 20 minutes since the last checkup in each skill category. Page 19 of 26

20 Week 12: Keyboard with Singing, Transcription Goals: 1. Reinforce singing with keyboard, 6/3 chords, etc. 2. Singing with your own block piano accompaniment. 3. Learn about transcription (only in class this year). In class: 1. Quiz Monday: Sight-singing from assignment 2. Quiz Wednesday: 2. Quiz Thursday: Shumway CH8 (6/3), first part. 3. Go through playing 6/4 chords (Shumway CH9). 4. Aural analysis of opening of Sullivan s No Possible Doubt Whatever. 5. Beethoven, Variations on Nel Cor, Woo70 (BHN p. 55 #52), transcription. (Simple Alberti bass and progress, but has a V 7 chord.) 6. Introduce the mantras, lament bass: (p. 2). Assignment for Week 12 (4/1, 4/3): Due 4/8 1. Berkowitz: pp # (chords in LH); p. 278 #34 (lament) 2. Hall: Practice Chapter 5 (continued). 3. MacGamut: Do Rhythms #4 and Harmonies #3. 4. Chord Singing sheet, part 2 (cont d). 5. Practice Lament Mantra. 6. Start transcription project. TURN IN MacGamut 12 scores in the D2L dropbox before midnight on Sunday. (You will have done Intervals #1 9, Scales #1 2, Chords #1 4, Rhythms #1 4, Melodies #1 3, and Harmonies #1 3, OR a minimum of 20 mins since the last checkup in each skill category.) Page 20 of 26

21 Week 13: Keyboard Skills (continued) Goals: 1. Learn to do play & sing. 2. Transpose authentic cadences in major & minor keys at the piano. 3. Perform sixteenth notes in simple meters. 4. Start working two-part melodic dictation. 5. Identify 6/4 chords. 6. Singing ii chord (re-fa-la, like IV chord). In class: 1. Monday: SS quiz over any of the week 12 melodies, including P&S. 2. Wednesday: ET quiz with triads in 5/3 & 6/3. 3. Review chord inversions. 4. Teach seventh chord qualities in root position. 5. Reviewed doing Roman numerals by ear without doing dictation. 6. Go over keyboard progressions in preparation for final. 7. Did dictation with Lo, How a Rose UMC p. 216, and Away in the Manger, UMC p Practice transcription. Assignment for Week 13 (4/8, 4/10): Due 4/15 1. Berkowitz: Practice pp # (chords in LH, ii); pp #26 (alto), 34 (cont d); pp #29a&b (P&S w/ii). 2. Hall: Practice Chapter MacGamut: Add Intervals #9 and Chords #5. 4. Practice Lament Mantra (cont d). 5. Sing the Chord Singing Sheet, part 3 (6/4 chords). 6. Continue work on transcription project. TURN IN MacGamut 13 scores in the D2L dropbox before midnight on Sunday. (You will have done Intervals #1 9, Scales #1 2, Chords #1 5, Rhythms #1 4, Melodies #1 3, and Harmonies #1 3, OR a minimum of 20 mins since the last checkup in each skill category.) Start pushing for mastery of all ear training now!!! Mastery required by the end of the semester! Page 21 of 26

22 Week 14: Harmonic Progression (continued) Goal: 1. Learn the dotted-eighth&sixteenth rhythm. 2. Recognize aurally and sing tritones, and sing in vii o6 chord (ti-re-fa, like V 7 ). 3. Play authentic cadences with another predominant chord. 4. Learn about progression with singing. In class: 1. Go through all the dotted-eighth and the Lombard rhythms. 2. Wednesday quiz: Berkowitz p. 276 #30 (Sing & Play). 3. Monday quiz: Bekowitz pp #35 38 (duets). Notice lament bass and 6/4 in # Practice harmonic dictation, Tues., Come, Thou Almighty King (UMC 61). Thurs., America (UMC 697). Have 6/4 chords. 5. Go over melody harmonization in Shumway in preparation for final. 6. Singing circle-of-fifths mantra. 7. Practice transcription. Assignment for Week 14 (4/15, 4/17): Due 4/22 1. Berkowitz: Practice pp # (vii o6 ); p. 279 #38 (lament); p. 277 #28 (alto); pp #29a&b (cont d). 2. Hall: Practice Chapter MacGamut: Add Intervals #10 and Rhythms #5. Strive at mastery in all assigned MG levels in every skill category! 4. Continue work on transcription project. 5. Sing the Chord Singing Sheet, part 3 (cont d). 6. Sing Lament Mantra (cont d). 7. Sing Circle-of-Fifths Mantra : (p. 1). TURN IN MacGamut 14 scores in the D2L dropbox before midnight on Sunday. (You will have done Intervals #1 10, Scales #1 2, Chords #1 5, Rhythms #1 5, Melodies #1 3, and Harmonies #1 3, OR a minimum of 20 mins since the last checkup in each skill category.) Remember that your final MacGamut scores with mastery on all assigned skills are due in two weeks before the ET final! Omitted from Assignment in 2011: 9. Finish up transcription project. Page 22 of 26

23 Week 15: Review, esp. progression (cont d) Goals: 1. Review for musicianship tests. 2. Sing melodies with vi outlined. In class: 1. Go over melody harmonization in Shumway in preparation for final. 2. Monday quiz: Hall, Chapter Review harmonic progression and circle-of-fifths mantra. 4. Review transcription. Assignment for Week 15 (4/22, 4/24): Due 4/29 1. Berkowitz: pp # (vi); p. 279 #38 (review); p. 344 #32 (P&S). 2. Hall: Practice Chapter 7, and review all previous assignments. 3. MacGamut: Strive at mastery in all assigned MG levels in every skill category! 4. Review all mantras (circle-of-fifths and lament-bass). 5. Review Chord Singing Sheet, parts 1 3 (all triads in all inversions). 6. Continue work on transcription project. TURN IN MacGamut 15 scores in the D2L dropbox by Sunday. (You will have done Intervals #1 10, Scales #1 2, Chords #1 5, Rhythms #1 5, Melodies #1 3, and Harmonies #1 3, OR a minimum of 20 mins since the last checkup in each skill category.) Remember that your final MacGamut scores with mastery on all assigned skills are due in two weeks before the ET final! Page 23 of 26

24 Week 16: Review and Preparation for Musicianship Finals Goals: 1. Review for musicianship tests. In class: 1. Go over melody harmonization in Shumway in preparation for final. 2. Review transcription. 3. Monday quiz: Hall, Chapter 7. Assignment for Week 16 (4/29, 5/1): 1. Berkowitz: Review all previous assignments, including skills emphasized in P&S p. 344 #32; p #34, #38 (lament); pp # (all triads), including alto clef with letter names. (All singing includes conducting. Solfege on everything but alto.) 2. Hall: Practice all previous assignments. (Conducting with one-part rhythms.) 3. MacGamut: Strive at mastery in all assigned MG levels in every skill category! No new levels! 4. Review circle-of-fifths and lament-bass mantras. 5. Review Chord Singing sheet, parts 1 3 (all triads). 6. Finish transcription project. Due on reading day. TURN IN MacGamut 16scores in the D2L dropbox before at 5PM on Reading Day! (You will have done Intervals #1 10, Scales #1 2, Chords #1 5, Rhythms #1 5, Melodies #1 3, and Harmonies #1 3, OR a minimum of 20 mins since the last checkup in each skill category.) Page 24 of 26

25 FINALS WEEKS: Musicianship Exams Goals: 1. Review for musicianship tests. Tests: 1. Individual Exam #2 by appointment. In class: 1. Practice meter identification. 2. Practice harmonic dictation with Es ist Ein Ros entsprungen (p. 216). 1. ET Test II. Assignment for Finals Week: 1. Berkowitz: Review all previous assignments, concentrating on second half of the semester. 2. Hall: Review all previous assignments, concentrating on the second half of the semester. 3. MacGamut: Attain mastery in everything assigned over the semester! And, review everything mastered for the ET final. No new levels assigned. 4. Chord Singing Sheet, parts 1 3 (triads). 5. Mantras: Review circle-of-fifths and lament bass. 6. Finish transcription project. Remember that the MG Final submission graded solely on mastery is due by the scheduled final exam time. TURN IN your final MacGamut Scores in the D2L Dropbox by May You must have attained mastery on all the assigned MacGamut exercises: 1. Intervals #1 10, 2. Scales #1 2, 3. Chords #1 5, 4. Rhythms #1 5, 5. Melodies #1 3, and 6. Harmonies #1 3. TURN IN transcription project by 5PM. Page 25 of 26

26 Description of Musicianship Finals (Tentative) 1. Individual Musicianship Exam II (10 min. individually scheduled during weeks 15 16). a. Sing root-position, first-inversion, and second-inversion triads from a given fixed bass note with fixed-do solfège (Chord Singing Sheet, sections 1 3). b. Perform a randomly-selected alto-clef melody chosen from the following: Berkowitz, pp #188, 190, 202, 215, 219, 237. c. Sight-sing a treble- or bass-clef melody randomly selected from any Berkowitz assignment assigned after musicianship midterms (Berkowitz, pp , ). This includes single lines from solo melodies and vocal lines from duets (leaps in I, V, IV, ii, vii o6, vi). d. Perform a one- or two-part rhythm randomly selected from after midterms (Hall, Chapters 5 7) with syllables. This includes the improvisations at ends of chapters, but with words. No three-part rhythms. 2. Ear-training Test II. Given during the last day of class. a. Scale identification (major and minor). b. Interval identification (melodic up & down and harmonic). c. Triads identification with inversion and root-position seventh-chord identification (block chords and arpeggiated). d. Melodic dictation (like MacGamut or Berkowitz melodies). e. Rhythmic dictation (like MacGamut, or 1- or 2-part Hall rhythms). f. Harmonic dictation (like Shumway, MacGamut or done in class). g. Meter identification. 3. Final MacGamut Submission by May Leon W. Couch III Page 26 of 26