Title: Species Counterpoint Speaker: Scott Blasco Created by: Scott Blasco. online.wsu.edu
|
|
|
- Barry Arnold
- 5 years ago
- Views:
Transcription
1 Title: Species Counterpoint Speaker: Scott Blasco Created by: Scott Blasco online.wsu.edu
2 MUS 550: Analytical Techniques Lesson 2: Species Counterpoint First-species (1:1) counterpoint Second-species (2:1) counterpoint Dissonance and metric hierarchy
3 I: Species counterpoint
4 I: Species counterpoint fifth fourth third second first cantus firmus
5 I: Species counterpoint fifth fourth third second first cantus firmus
6 I: Species counterpoint fifth fourth third second first cantus firmus
7 I: Species counterpoint fifth fourth third second first cantus firmus
8 I: Species counterpoint fifth fourth third second first cantus firmus
9 I: Species counterpoint fifth fourth third second first cantus firmus
10
11
12
13 NO parallel perfect intervals
14 NO parallel perfect intervals NO direct perfect intervals
15 TYPES OF MOTION: Parallel Similar Contrary
16 TYPES OF MOTION: Parallel Similar Contrary
17 TYPES OF MOTION: Parallel Similar Contrary P5 to P5 6 to P8, upper leap 6 to P5, upper step
18 TYPES OF MOTION: Parallel Similar Contrary P5 to P5 6 to P8 6 to P8, upper leap 6 to P5, upper step
19 TYPES OF MOTION: Parallel Similar Contrary P5 to P5 6 to P8 Oblique 6 to P8, upper leap 6 to P5, upper step
20 TYPES OF MOTION: Parallel Similar Contrary P5 to P5 6 to P8 Oblique 6 to P8, upper leap 6 to P5, upper step hidden parallelism P5 to P5 P8 to P8
21
22 P5 to P5 6 to P8 P5 to P5 P8 to P8
23
24
25
26
27
28
29 La Ti Do
30
31 Law of Recovery After leaps larger than a 3 rd, step in the opposite direction
32 Law of Recovery After leaps larger than a 3 rd, step in the opposite direction La Ti Do
33
34
35
36
37
38
39 FIRST SPECIES -Consonant vertical intervals -No parallel or direct perfect intervals (with one exception) -Lower voice: Do. Upper voice: Do, Mi/Me, Sol, ends on Do. -Unisons only at beginning and end. -(La ) Ti Do
40 FIRST SPECIES -Consonant vertical intervals -No parallel or direct perfect intervals (with one exception) -Lower voice: Do. Upper voice: Do, Mi/Me, Sol, ends on Do. -Unisons only at beginning and end. -(La ) Ti Do ALSO -Label all intervals -Stepwise motion, contrary motion. -Favor imperfect vertical consonances, avoid successive perfects.
41 II: Species counterpoint: second species
42 II: Species counterpoint: second species
43 II: Species counterpoint: second species SECOND SPECIES -Lower voice: Do. Upper voice: Do, Mi/Me, Sol, ends on Do. -Consonant vertical intervals on strong beats -No parallel or direct perfect intervals (with one exception) -(La ) Ti Do
44 II: Species counterpoint: second species SECOND SPECIES -Lower voice: Do. Upper voice: Do, Mi/Me, Sol, ends on Do. -Consonant vertical intervals on strong beats -No parallel or direct perfect intervals (with one exception) -(La ) Ti Do ALSO -Weak beats: consonant or dissonant PASSING TONE -No parallelisms/directs from strong strong or weak strong beats -Final measure whole note in both voices
45 II: Species counterpoint: second species SECOND SPECIES -Lower voice: Do. Upper voice: Do, Mi/Me, Sol, ends on Do. -Consonant vertical intervals on strong beats -No parallel or direct perfect intervals (with one exception) -(La ) Ti Do ALSO -Weak beats: consonant or dissonant PASSING TONE -No parallelisms/directs from strong strong or weak strong beats -Final measure whole note in both voices ALSO ALSO -May begin with half rest -Optional penultimate bar whole note
46 II: Species counterpoint: second species
47 II: Species counterpoint: second species
48 II: Species counterpoint: second species
49 III: Dissonance and Metric Hierarchy
50 III: Dissonance and Metric Hierarchy strong vs. weak
51 III: Dissonance and Metric Hierarchy strong vs. weak
52 III: Dissonance and Metric Hierarchy strong vs. weak dissonance = forward momentum
MELODIC AND RHYTHMIC EMBELLISHMENT IN TWO VOICE COMPOSITION. Chapter 10
MELODIC AND RHYTHMIC EMBELLISHMENT IN TWO VOICE COMPOSITION Chapter 10 MELODIC EMBELLISHMENT IN 2 ND SPECIES COUNTERPOINT For each note of the CF, there are 2 notes in the counterpoint In strict style
SPECIES COUNTERPOINT
SPECIES COUNTERPOINT CANTI FIRMI Species counterpoint involves the addition of a melody above or below a given melody. The added melody (the counterpoint) becomes increasingly complex and interesting in
Outline The Study of Counterpoint from Joseph Fux s Gradus Ad Parnassum. Translated & Edited by Alfred Mann
Outline The Study of Counterpoint from Joseph Fux s Gradus Ad Parnassum Translated & Edited by Alfred Mann Compliments of The Reel Score www.thereelscore.com 2 www.thereelscore.com Michael Morangelli Composer
Music 3753 Chant Project Instructions
Music 3753 Chant Project Instructions The Chant Project is made up of six different, but related, composition assignments. Each assignment is worth 25 points. The final chant project portfolio is worth
PRACTICE FINAL EXAM. Fill in the metrical information missing from the table below. (3 minutes; 5%) Meter Signature
Music Theory I (MUT 1111) w Fall Semester, 2018 Name: Instructor: PRACTICE FINAL EXAM Fill in the metrical information missing from the table below. (3 minutes; 5%) Meter Type Meter Signature 4 Beat Beat
Exploring the Rules in Species Counterpoint
Exploring the Rules in Species Counterpoint Iris Yuping Ren 1 University of Rochester yuping.ren.iris@gmail.com Abstract. In this short paper, we present a rule-based program for generating the upper part
Cadence fingerprints
Cadence fingerprints Rev. June 2015 Cadential patterns one (variants of I-V-I) Useful if the melody is 3-2-1 or 8-7-8 3-2-1 Ic V I Ib V I the bass passing note between Ib and V is an important feature
Descending- and ascending- 5 6 sequences (sequences based on thirds and seconds):
Lesson TTT Other Diatonic Sequences Introduction: In Lesson SSS we discussed the fundamentals of diatonic sequences and examined the most common type: those in which the harmonies descend by root motion
T Y H G E D I. Music Informatics. Alan Smaill. Feb Alan Smaill Music Informatics Feb /1
O Y Music nformatics Alan maill eb 15 2018 Alan maill Music nformatics eb 15 2018 1/1 oday Y ule based systems ule-based Counterpoint ystems ule-based systems for 4-part harmonisation Alan maill Music
AP MUSIC THEORY 2016 SCORING GUIDELINES
2016 SCORING GUIDELINES Question 7 0---9 points A. ARRIVING AT A SCORE FOR THE ENTIRE QUESTION 1. Score each phrase separately and then add the phrase scores together to arrive at a preliminary tally for
Introduction to Free Counterpoint. ( or Bach Style Counterpoint ) by Glen Halls All rights reserved.
Introduction to Free Counterpoint. ( or Bach Style Counterpoint ) by Glen Halls All rights reserved. The First and most important distinction between strict and free counterpoint is the point of departure.
CHAPTER ONE TWO-PART COUNTERPOINT IN FIRST SPECIES (1:1)
HANDBOOK OF TONAL COUNTERPOINT G. HEUSSENSTAMM Page 1 CHAPTER ONE TWO-PART COUNTERPOINT IN FIRST SPECIES (1:1) What is counterpoint? Counterpoint is the art of combining melodies; each part has its own
AP MUSIC THEORY 2006 SCORING GUIDELINES. Question 7
2006 SCORING GUIDELINES Question 7 SCORING: 9 points I. Basic Procedure for Scoring Each Phrase A. Conceal the Roman numerals, and judge the bass line to be good, fair, or poor against the given melody.
Student Performance Q&A:
Student Performance Q&A: 2012 AP Music Theory Free-Response Questions The following comments on the 2012 free-response questions for AP Music Theory were written by the Chief Reader, Teresa Reed of the
AP MUSIC THEORY 2013 SCORING GUIDELINES
2013 SCORING GUIDELINES Question 7 SCORING: 9 points A. ARRIVING AT A SCORE FOR THE ENTIRE QUESTION 1. Score each phrase separately and then add these phrase scores together to arrive at a preliminary
AP Music Theory. Sample Student Responses and Scoring Commentary. Inside: Free Response Question 7. Scoring Guideline.
2018 AP Music Theory Sample Student Responses and Scoring Commentary Inside: Free Response Question 7 RR Scoring Guideline RR Student Samples RR Scoring Commentary College Board, Advanced Placement Program,
AP MUSIC THEORY 2011 SCORING GUIDELINES
2011 SCORING GUIDELINES Question 7 SCORING: 9 points A. ARRIVING AT A SCORE FOR THE ENTIRE QUESTION 1. Score each phrase separately and then add these phrase scores together to arrive at a preliminary
Lesson Two...6 Eighth notes, beam, flag, add notes F# an E, questions and answer phrases
Table of Contents Introduction Lesson One...1 Time and key signatures, staff, measures, bar lines, metrical rhythm, 4/4 meter, quarter, half and whole notes, musical alphabet, sharps, flats, and naturals,
Working with unfigured (or under-figured) early Italian Baroque bass lines
Working with unfigured (or under-figured) early Italian Baroque bass lines The perennial question in dealing with early Italian music is exactly what figures should appear under the bass line. Most of
AP MUSIC THEORY 2015 SCORING GUIDELINES
2015 SCORING GUIDELINES Question 7 0 9 points A. ARRIVING AT A SCORE FOR THE ENTIRE QUESTION 1. Score each phrase separately and then add the phrase scores together to arrive at a preliminary tally for
PART-WRITING CHECKLIST
PART-WRITING CHECKLIST Cadences 1. is the final V(7)-I cadence a Perfect Authentic Cadence (PAC)? 2. in deceptive cadences, are there no parallel octaves or fifths? Chord Construction 1. does the chord
Developing Your Musicianship Lesson 1 Study Guide
Terms 1. Harmony - The study of chords, scales, and melodies. Harmony study includes the analysis of chord progressions to show important relationships between chords and the key a song is in. 2. Ear Training
AP Music Theory. Sample Student Responses and Scoring Commentary. Inside: Free Response Question 5. Scoring Guideline.
2017 AP Music Theory Sample Student Responses and Scoring Commentary Inside: RR Free Response Question 5 RR Scoring Guideline RR Student Samples RR Scoring Commentary 2017 The College Board. College Board,
Doctor of Philosophy
University of Adelaide Elder Conservatorium of Music Faculty of Humanities and Social Sciences Declarative Computer Music Programming: using Prolog to generate rule-based musical counterpoints by Robert
The Practice Room. Learn to Sight Sing. Level 3. Rhythmic Reading Sight Singing Two Part Reading. 60 Examples
1 The Practice Room Learn to Sight Sing. Level 3 Rhythmic Reading Sight Singing Two Part Reading 60 Examples Copyright 2009-2012 The Practice Room http://thepracticeroom.net 2 Rhythmic Reading Three 20
Practical Rules. Learning Composition Translated from a Work intitled GRADUS AD PARNASSUM JOHN JOSEPH FEUX. The Roman Emperor CHARLES VI
Practical Rules FOR Learning Composition Translated from a Work intitled GRADUS AD PARNASSUM Written Originally in Latin by JOHN JOSEPH FEUX late chief Composer to The Roman Emperor CHARLES VI NB: this
Palestrina Pal: A Grammar Checker for Music Compositions in the Style of Palestrina
Palestrina Pal: A Grammar Checker for Music Compositions in the Style of Palestrina 1. Research Team Project Leader: Undergraduate Students: Prof. Elaine Chew, Industrial Systems Engineering Anna Huang,
AP MUSIC THEORY 2010 SCORING GUIDELINES
2010 SCORING GUIDELINES Definitions of Common Voice-Leading Errors (DCVLE) (Use for Questions 5 and 6) 1. Parallel fifths and octaves (immediately consecutive) unacceptable (award 0 points) 2. Beat-to-beat
Lesson Week: August 17-19, 2016 Grade Level: 11 th & 12 th Subject: Advanced Placement Music Theory Prepared by: Aaron Williams Overview & Purpose:
Pre-Week 1 Lesson Week: August 17-19, 2016 Overview of AP Music Theory Course AP Music Theory Pre-Assessment (Aural & Non-Aural) Overview of AP Music Theory Course, overview of scope and sequence of AP
On Interpreting Bach. Purpose. Assumptions. Results
Purpose On Interpreting Bach H. C. Longuet-Higgins M. J. Steedman To develop a formally precise model of the cognitive processes involved in the comprehension of classical melodies To devise a set of rules
AP Music Theory Syllabus
AP Music Theory Syllabus Course Overview AP Music Theory is designed for the music student who has an interest in advanced knowledge of music theory, increased sight-singing ability, ear training composition.
Readings Assignments on Counterpoint in Composition by Felix Salzer and Carl Schachter
Readings Assignments on Counterpoint in Composition by Felix Salzer and Carl Schachter Edition: August 28, 200 Salzer and Schachter s main thesis is that the basic forms of counterpoint encountered in
Elements of Music - 2
Elements of Music - 2 A series of single tones that add up to a recognizable whole. - Steps small intervals - Leaps Larger intervals The specific order of steps and leaps, short notes and long notes, is
AP Music Theory 2010 Scoring Guidelines
AP Music Theory 2010 Scoring Guidelines The College Board The College Board is a not-for-profit membership association whose mission is to connect students to college success and opportunity. Founded in
Student Performance Q&A:
Student Performance Q&A: 2008 AP Music Theory Free-Response Questions The following comments on the 2008 free-response questions for AP Music Theory were written by the Chief Reader, Ken Stephenson of
MUSIC THEORY CURRICULUM STANDARDS GRADES Students will sing, alone and with others, a varied repertoire of music.
MUSIC THEORY CURRICULUM STANDARDS GRADES 9-12 Content Standard 1.0 Singing Students will sing, alone and with others, a varied repertoire of music. The student will 1.1 Sing simple tonal melodies representing
AP Music Theory 2013 Scoring Guidelines
AP Music Theory 2013 Scoring Guidelines The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the
AP Music Theory. Scoring Guidelines
2018 AP Music Theory Scoring Guidelines College Board, Advanced Placement Program, AP, AP Central, and the acorn logo are registered trademarks of the College Board. AP Central is the official online home
AN INTRODUCTION TO MUSIC THEORY Revision A. By Tom Irvine July 4, 2002
AN INTRODUCTION TO MUSIC THEORY Revision A By Tom Irvine Email: tomirvine@aol.com July 4, 2002 Historical Background Pythagoras of Samos was a Greek philosopher and mathematician, who lived from approximately
The Practice Room. Learn to Sight Sing. Level 2. Rhythmic Reading Sight Singing Two Part Reading. 60 Examples
1 The Practice Room Learn to Sight Sing. Level 2 Rhythmic Reading Sight Singing Two Part Reading 60 Examples Copyright 2009-2012 The Practice Room http://thepracticeroom.net 2 Rhythmic Reading Two 20 Exercises
15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV (for Unit 3: Developing Musical Understanding)
15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV (for Unit 3: Developing Musical Understanding) Background information and performance circumstances Arcangelo Corelli (1653 1713) was one of the most
Student Performance Q&A:
Student Performance Q&A: 2010 AP Music Theory Free-Response Questions The following comments on the 2010 free-response questions for AP Music Theory were written by the Chief Reader, Teresa Reed of the
AP MUSIC THEORY STUDY GUIDE Max Kirkpatrick 5/10/08
AP MUSIC THEORY STUDY GUIDE Max Kirkpatrick 5/10/08 FORM- ways in which composition is shaped Cadence- a harmonic goal, specifically the chords used at the goal Cadential extension- delay of cadence by
AP MUSIC THEORY 2014 SCORING GUIDELINES
AP MUSIC THEORY 2014 SCORING GUIDELINES Question 5 SCORING: 25 points I. Roman Numerals (7 points, 1 point per numeral) Award 1 point for each correct Roman numeral. 1. Accept the correct Roman numeral
Musical Architecture in Three Domains: Stretto, Suspension, and. Diminution in Sweelinck's Chromatic Fantasia
MT Graduate Workshop Peter chubert: Renaissance Instrumental Music November 7, 2014 Derek Reme Musical Architecture in Three Domains: tretto, uspension, and Diminution in weelinck's Chromatic Fantasia
AUTOMATIC MUSIC COMPOSITION BASED ON COUNTERPOINT AND IMITATION USING STOCHASTIC MODELS
AUTOMATIC MUSIC COMPOSITION BASED ON COUNTERPOINT AND IMITATION USING STOCHASTIC MODELS Tsubasa Tanaka, Takuya Nishimoto, Nobutaka Ono, Shigeki Sagayama Graduate School of Information Science and Technology,
AP Music Theory 1999 Scoring Guidelines
AP Music Theory 1999 Scoring Guidelines The materials included in these files are intended for non-commercial use by AP teachers for course and exam preparation; permission for any other use must be sought
AP/MUSIC THEORY Syllabus
AP/MUSIC THEORY Syllabus 2017-2018 Course Overview AP Music Theory meets 8 th period every day, thru the entire school year. This course is designed to prepare students for the annual AP Music Theory exam.
Virginia Commonwealth University MHIS 146 Outline Notes. Open and Closed Positions of Triads Never more than an octave between the upper three voices
Virginia Commonwealth University MHIS 146 Outline Notes Unit 1 Review Harmony: Diatonic Triads and Seventh Chords Root Position and Inversions Chapter 11: Voicing and Doublings Open and Closed Positions
Workbooks for undergraduate counterpoint 1-4
1 Workbooks for undergraduate counterpoint 1-4 by Alan Belkin alanbelkinmusic@gmail.com http://alanbelkinmusic.com/ 2015, Alan Belkin. All rights reserved. This document may be shared freely, but may not
NetNeg: A Connectionist-Agent Integrated System for Representing Musical Knowledge
From: AAAI Technical Report SS-99-05. Compilation copyright 1999, AAAI (www.aaai.org). All rights reserved. NetNeg: A Connectionist-Agent Integrated System for Representing Musical Knowledge Dan Gang and
Music Theory Syllabus Course Information: Name: Music Theory (AP) School Year Time: 1:25 pm-2:55 pm (Block 4) Location: Band Room
Music Theory Syllabus Course Information: Name: Music Theory (AP) Year: 2017-2018 School Year Time: 1:25 pm-2:55 pm (Block 4) Location: Band Room Instructor Information: Instructor(s): Mr. Hayslette Room
On D. Tymoczko s critique of Mazzola s counterpoint theory
On D. Tymoczko s critique of Mazzola s counterpoint theory Octavio Alberto Agustín-Aquino Universidad de la Cañada Guerino Mazzola University of Minnesota, School of Music and University of Zürich, Institut
Music Theory for the Church Musician: Analysis or Paralysis? Narrative Can Help
1 Paper for Presentation at ALCM Biennial Conference at Valparaiso University July 1, 2013 Music Theory for the Church Musician: Analysis or Paralysis? Narrative Can Help by Dr. John Bernthal I. Introduction
Music Department Columbia University Ear Training Curriculum, Fall 2012 Sing and Play at the Piano Face the Music
Music Department Columbia University Ear Training Curriculum, Fall 2012 and at the Piano Face the Music Students are required to perform at the keyboard simultaneously singing and playing exercises in
AP Music Theory Syllabus
AP Music Theory Syllabus School Year: 2017-2018 Certificated Teacher: Desired Results: Course Title : AP Music Theory Credit: X one semester (.5) two semesters (1.0) Prerequisites and/or recommended preparation:
The Fugue Based on Hugo Norden's Foundation Studies on Fugue I The Subject
http://www.kunstderfuge.com/theory/norden.htm The Fugue Based on Hugo Norden's Foundation Studies on Fugue I The Subject A fugue consists of the statement and development of a single subject (the main
GCSE MUSIC REVISION GUIDE
GCSE MUSIC REVISION GUIDE J Williams: Main title/rebel blockade runner (from the soundtrack to Star Wars: Episode IV: A New Hope) (for component 3: Appraising) Background information and performance circumstances
BLUE VALLEY DISTRICT CURRICULUM & INSTRUCTION Music 9-12/Honors Music Theory
BLUE VALLEY DISTRICT CURRICULUM & INSTRUCTION Music 9-12/Honors Music Theory ORGANIZING THEME/TOPIC FOCUS STANDARDS FOCUS SKILLS UNIT 1: MUSICIANSHIP Time Frame: 2-3 Weeks STANDARDS Share music through
AP Music Theory Curriculum
AP Music Theory Curriculum Course Overview: The AP Theory Class is a continuation of the Fundamentals of Music Theory course and will be offered on a bi-yearly basis. Student s interested in enrolling
Syllabus MUSIC THEORY I (ONLINE) MUT 1111 (875) ST. PETERSBURG COLLEGE Fall 2018
Syllabus MUSIC THEORY I (ONLINE) MUT 1111 (875) ST. PETERSBURG COLLEGE Fall 2018 Instructor: Nathan Muehl Department: Department of Music, St. Pete/Gibbs Instructor E-mail: muehl.nathan@spcollege.edu Instructor
34. Weelkes Sing we at pleasure. Background information and performance circumstances
34. Weelkes Sing we at pleasure (For Unit 3: Developing Musical Understanding) Background information and performance circumstances Biography: Thomas Weelkes was probably born in Sussex in 1576. He died
Play and Ambiguity in Reich s Variations for Winds, Strings, and Keyboards
McMaster Music Analysis Colloquium vol. 4, 2005, pp. 74-84 Play and Ambiguity in Reich s Variations for Winds, Strings, and Keyboards SARAH FUNKE When Steve Reich composed Variations for Winds, Strings,
Example 1 (W.A. Mozart, Piano Trio, K. 542/iii, mm ):
Lesson MMM: The Neapolitan Chord Introduction: In the lesson on mixture (Lesson LLL) we introduced the Neapolitan chord: a type of chromatic chord that is notated as a major triad built on the lowered
BASIC CONCEPTS AND PRINCIPLES IN MODERN MUSICAL ANALYSIS. A SCHENKERIAN APPROACH
Bulletin of the Transilvania University of Braşov Series VIII: Art Sport Vol. 4 (53) No. 1 2011 BASIC CONCEPTS AND PRINCIPLES IN MODERN MUSICAL ANALYSIS. A SCHENKERIAN APPROACH A. PREDA-ULITA 1 Abstract:
How Music Works: A First-Year Theory Textbook (2nd ed.)
Kent State University Digital Commons @ Kent State University Libraries Open Educational Resources University Libraries 2010 How Music Works: A First-Year Theory Textbook (2nd ed.) Richard O. Devore Kent
AP Music Theory Rudiments II and Analysis Exam
AP Music Theory Rudiments II and Analysis Exam Name Time allotted: 45 minutes I. Multiple Choice. Each of the questions or incomplete statements below is followed by four suggested answers or completions.
Unit 5b: Bach chorale (technical study)
Unit 5b: Bach chorale (technical study) The technical study has several possible topics but all students at King Ed s take the Bach chorale option - this unit supports other learning the best and is an
Commentary on David Huron s On the Role of Embellishment Tones in the Perceptual Segregation of Concurrent Musical Parts
Commentary on David Huron s On the Role of Embellishment Tones in the Perceptual Segregation of Concurrent Musical Parts JUDY EDWORTHY University of Plymouth, UK ALICJA KNAST University of Plymouth, UK
Music Theory. Fine Arts Curriculum Framework. Revised 2008
Music Theory Fine Arts Curriculum Framework Revised 2008 Course Title: Music Theory Course/Unit Credit: 1 Course Number: Teacher Licensure: Grades: 9-12 Music Theory Music Theory is a two-semester course
Partimenti Pedagogy at the European American Musical Alliance, Derek Remeš
Partimenti Pedagogy at the European American Musical Alliance, 2009-2010 Derek Remeš The following document summarizes the method of teaching partimenti (basses et chants donnés) at the European American
GRADUATE/ transfer THEORY PLACEMENT EXAM guide. Texas woman s university
2016-17 GRADUATE/ transfer THEORY PLACEMENT EXAM guide Texas woman s university 1 2016-17 GRADUATE/transferTHEORY PLACEMENTEXAMguide This guide is meant to help graduate and transfer students prepare for
NJCCCS AREA: North Brunswick Township Public Schools. AP Music Theory. Acknowledgements: Written by: James Egan, Band Director
NJCCCS AREA: North Brunswick Township Public Schools AP Music Theory Acknowledgements: Written by: James Egan, Band Director Peggy Sica, Supervisor Fine Arts and Performing Arts Date: August 30 2008 Board
Secrets To Better Composing & Improvising
Secrets To Better Composing & Improvising By David Hicken Copyright 2017 by Enchanting Music All rights reserved. No part of this document may be reproduced or transmitted in any form, by any means (electronic,
September 7, closes /cadences
Analysis 1 Martijn Hooning September 7, 015 n the following texts you find description and explanation of some analytical terminology short analyses to demonstrate and clarify these terms; music examples
Music Theory Fundamentals/AP Music Theory Syllabus. School Year:
Certificated Teacher: Desired Results: Music Theory Fundamentals/AP Music Theory Syllabus School Year: 2014-2015 Course Title : Music Theory Fundamentals/AP Music Theory Credit: one semester (.5) X two
Student Performance Q&A: 2001 AP Music Theory Free-Response Questions
Student Performance Q&A: 2001 AP Music Theory Free-Response Questions The following comments are provided by the Chief Faculty Consultant, Joel Phillips, regarding the 2001 free-response questions for
21M.220 Paper 1 Hong Pruttivarasin. Musical Variety of the Five Ars Antiqua Motets
Musical Variety of the Five Ars Antiqua Motets The motet is one of the most intellectual forms of composition in the Middle Ages. By looking closely at a few Ars antiqua motets, we see how composers in
Quantitative Emotion in the Avett Brother s I and Love and You. has been around since the prehistoric eras of our world. Since its creation, it has
Quantitative Emotion in the Avett Brother s I and Love and You Music is one of the most fundamental forms of entertainment. It is an art form that has been around since the prehistoric eras of our world.
Composing first species counterpoint with a variable neighbourhood search algorithm
Composing first species counterpoint with a variable neighbourhood search algorithm Herremans, D; Sörensen, K The final publication is available at http://www.tandfonline.com/doi/abs/1.18/17513472.212.738554
Music Theory Courses - Piano Program
Music Theory Courses - Piano Program I was first introduced to the concept of flipped classroom learning when my son was in 5th grade. His math teacher, instead of assigning typical math worksheets as
Course Objectives The objectives for this course have been adapted and expanded from the 2010 AP Music Theory Course Description from:
Course Overview AP Music Theory is rigorous course that expands upon the skills learned in the Music Theory Fundamentals course. The ultimate goal of the AP Music Theory course is to develop a student
Chorale Completion Cribsheet
Fingerprint One (3-2 - 1) Chorale Completion Cribsheet Fingerprint Two (2-2 - 1) You should be able to fit a passing seventh with 3-2-1. If you cannot do so you have made a mistake (most commonly doubling)
Course Overview. At the end of the course, students should be able to:
AP MUSIC THEORY COURSE SYLLABUS Mr. Mixon, Instructor wmixon@bcbe.org 1 Course Overview AP Music Theory will cover the content of a college freshman theory course. It includes written and aural music theory
MU 151: Daily Written Theory Assignments
MU 151: Daily Written Theory Assignments (Tentative) General Suggestions and Directions: Plan to spend approximately three hours outside class for each hour in class. This course should be fun for those
MU 151: Daily Written Theory Assignments
MU 151: Daily Written Theory Assignments (Tentative) General Suggestions and Directions: Plan to spend approximately three hours outside class for each hour in class. This course should be fun for those
EIGHT SHORT MATHEMATICAL COMPOSITIONS CONSTRUCTED BY SIMILARITY
EIGHT SHORT MATHEMATICAL COMPOSITIONS CONSTRUCTED BY SIMILARITY WILL TURNER Abstract. Similar sounds are a formal feature of many musical compositions, for example in pairs of consonant notes, in translated
AP Music Theory Course Planner
AP Music Theory Course Planner This course planner is approximate, subject to schedule changes for a myriad of reasons. The course meets every day, on a six day cycle, for 52 minutes. Written skills notes:
Cadences. There are four different types of harmonic cadences: perfect (or authentic) imperfect (or half), plagal and interrupted (or deceptive).
Cadences Cadences generally represent a pause in rhythmic, melodic or harmonic movement. They often combine a momentary standstill of rhythmic motion ith the use of common to-chord patterns to finish a
Alleghany County Schools Curriculum Guide
Alleghany County Schools Curriculum Guide Grade/Course: Piano Class, 9-12 Grading Period: 1 st six Weeks Time Fra me 1 st six weeks Unit/SOLs of the elements of the grand staff by identifying the elements
INTERVALS Ted Greene
1 INTERVALS The interval is to music as the atom is to matter the basic essence of the stuff. All music as we know it is composed of intervals, which in turn make up scales or melodies, which in turn make
Piano Safari Sight Reading & Rhythm Cards for Book 2
Piano Safari Sight Reading & Rhythm Cards for Book 2 Teacher Guide Table of Contents Sight Reading Cards Corresponding Repertoire Bk. 2 Unit Concepts Teacher Guide Page Number Introduction 1 Level F Unit
Music Theory Courses - Piano Program
Music Theory Courses - Piano Program I was first introduced to the concept of flipped classroom learning when my son was in 5th grade. His math teacher, instead of assigning typical math worksheets as
Arranging in a Nutshell
Arranging in a Nutshell Writing portable arrangements for 2 or 3 horns and rhythm section Jim Repa JEN Conference, New Orleans January 7, 2011 Web: http://www.jimrepa.com Email: jimrepa@hotmail.com 1 Portable
Music Theory For Pianists. David Hicken
Music Theory For Pianists David Hicken Copyright 2017 by Enchanting Music All rights reserved. No part of this document may be reproduced or transmitted in any form, by any means (electronic, photocopying,
A Planned Course Statement for. Music Theory, AP. Course # 760 Grade(s) 11, 12. Length of Period (mins.) 40 Total Clock Hours: 120
East Penn School District Secondary Curriculum A Planned Course Statement for Music Theory, AP Course # 760 Grade(s) 11, 12 Department: Music Length of Period (mins.) 40 Total Clock Hours: 120 Periods
Lesson One. New Terms. Cambiata: a non-harmonic note reached by skip of (usually a third) and resolved by a step.
Lesson One New Terms Cambiata: a non-harmonic note reached by skip of (usually a third) and resolved by a step. Echappée: a non-harmonic note reached by step (usually up) from a chord tone, and resolved
Unit 1. π π π π π π. 0 π π π π π π π π π. . 0 ð Š ² ² / Melody 1A. Melodic Dictation: Scalewise (Conjunct Diatonic) Melodies
ben36754_un01.qxd 4/8/04 22:33 Page 1 { NAME DATE SECTION Unit 1 Melody 1A Melodic Dictation: Scalewise (Conjunct Diatonic) Melodies Before beginning the exercises in this section, sing the following sample
King Edward VI College, Stourbridge Starting Points in Composition and Analysis
King Edward VI College, Stourbridge Starting Points in Composition and Analysis Name Dr Tom Pankhurst, Version 5, June 2018 [BLANK PAGE] Primary Chords Key terms Triads: Root: all the Roman numerals: Tonic:
This paper presents an analytical methodology for neotonal music that is based
UPPERCUE, KEVIN, M.M. Modified Contrapuntal Conventions: Stability and Instability in the Neotonal Music of Hindemith. (2013) Directed by Dr. J. Kent Williams. 49 pp. This paper presents an analytical