MU 151: Daily Written Theory Assignments

Transcription

1 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 who love music, but the course has the responsibility of preparing you with a professional understanding of music with all that that entails. Simply put: you must enjoy working very hard! As in your private lessons on your instrument, most of the learning takes place at home, not in the classroom. The teacher s feedback, although vital, primarily guides you in your work outside class during the week. Read all the assignments before the class covers a new topic in order to hasten your comprehension (the pace of lectures is fast). To truly understand how the musical examples relate to the text, you must hear them. Use the CD or play them yourself. Self-tests will be spot-checked in class but not normally collected. Do a little work everyday rather than letting it pile up (more on this in class...). Also planning to do work ahead will allow for time to call friends for help or for any unexpected extra time an assignments might require. Complete the entire homework assignment, even if you don t think you understand it all, because you will have an opportunity to redo the homework with the instructor s feedback. At the same time, you should attempt to do everything as well as you can the first time, because the homework load is already heavy enough without redo assignments. The material in theory courses is cumulative, and so you can never just skip a chapter. Your understanding and thus your grade will most likely suffer if you skip an assignment. Learn from the feedback to your homework!!! Also look for errors you make consistently. Your grasp of the material will hinge on learning from feedback. Unless if explicitly noted, written assignments are normally collected the class period after they are assigned. E.g., homework listed under 9/1" is due on 9/3." If you are planning to miss class 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. You may, of course, turn in work early before the due dates. Remember that these projected assignments are subject to revision due to the needs of the particular class. NEXT TIME: move harmonic sequence (root position) before CH7. NEXT TIME: Perhaps one species assignment where they fill in a few dots, instead of going at it and making mistakes. Error-detection exercises have basically done the same. NEXT TIME: Do one species where one changes a rule, such as resolving leaps in same direction or permitting 7ths and forbidding 3rds, whatever, to see effect. NEXT TIME: Consider moving Test III back to its location before Thanksgiving. Means moving one assignment. Page 1 of 65

2 FUNDAMENTALS: Elements of Pitch (Chapter 1) (2) Goals: 1. Be able to read soprano, bass, and alto clefs fluently, and understand how all moveable C clefs work. 2. Be able to write any major or minor scale out without hesitation. 3. Know all key signatures by heart. 4. Be able to find the interval between any two notes with minimal time. WEEK 1 Wednesday 8/28 Notation & Scales In class: A. Present syllabus. B. Review briefly clefs. There is a helpful Clef handout on the course website, which includes the less common clefs. C. Review major and minor scales, including natural, harmonic, and melodic minor. There is a helpful Scales handout on the course website. D. Review key signatures briefly. E. Brief introduction to CFs. Homework Assignment #0: Due Friday (8/30) at the beginning of class A. Read and study Kostka & Payne (K&P), pp. vii-xiv, 1-6, and 7-8. B. Start Assignment #1 early! C. Practice note reading and scales, as needed, with and This may take a few hours. Page 2 of 65

3 Friday 8/30 Notation & Scales continued In class: A. Review scales and key signatures. Show B. Handout papers on CFs. C. Introduce CF, enough for students to do ED self tests. Homework Assignment #1: Due Wednesday (9/4) at the beginning of class A. Read and study Kostka & Payne (K&P), pp. xi xiv, 1 8, and B. Do K&P Self-Tests: 1. Do pp. 8 9, pp , and the Checkpoint on p Check your answers against those posted on the webpages. (Also, the back of your textbook has solutions.) 3. Photocopy your work to get credit, and turn in the photocopy. Or, scan and send via . [If this takes you more than a few minutes or you re having trouble, see the recommended optional work in points D & E, because you ll need to secure these skills during the next two weeks.] C. Prepare for species counterpoint studies: 1. Look over handouts on Cantus Firmi (CF) (posted on the course website), 2. Read careful the handout on Cantus Firmus Writing (posted on the website), 3. Download, print, and study the List of Errors for CFs, 4. Print out, do all the Cantus-firmus Self-tests, and turn in your answers. D. Do K&P Workbook: 1. pp. 1 3,6 all. E. Recommended reading on counterpoint: Read about Cantus Firmi in Salzer/Schachter, pp This provides an excellent and accessible explanation of CF writing. [NO class on Monday 9/2. Labor Day.] Page 3 of 65

4 How to do Cantus-firmus Error-Detection Self-tests correctly: 1. Do these like a mature & motivated student, such that you are learning and not just fulfilling the assignment for a grade, 2. Read about the rules, and listen to good examples thereof, 3. Listen first to each error-detection problem, and try to circle the areas with errors you hear, 4. Now, review the rules and error lists, 5. Look visually for errors visually by going down the list of errors one-by-one and searching through the given exercise. (You are memorizing the rules and how to catch errors in your and peers compositions.) 6. Check your answers with the posted solution, correct those answers, and read the explanation underneath each example, 7. Listen to the exercise again, learning the sound of good and bad basic 16 th -counterpoint, 8. Turn in the exercises, if required. Page 4 of 65

5 WEEK 2 Cantus Firmi & Melody Composition (2) (Preparation for Species Counterpoint) Goal: 1. Write a stylistic cantus firmus, obeying the most strict rules of melodic writing. 2. Distinguish between writing strict melodies and more elaborate melody Wednesday 9/4 Melodies & Intervals In class: A. Review scales, spelling with and without signatures. Fast recognition. Brief. Mention how to do difficult keys, such as g#m, quickly. Explain timed quizzes. Practice with Practice Quiz I (on website). B. Introduce CF writing. Cantus firmi (CF) undergirds melodies and forms basis for counterpoint studies. (If you have questions, read Salzer/Schachter, pp ) 0. Pass out all handouts on CF writing and ED. Can download from website. 1. The Liber usualis and plainsong style in general 2. The rules, including comparing and contrasting against more melodic styles 3. CF rules underlying more modern tonal melody 4. Writing a few CFs, using alto clef in this course and cut-time signature 5. Criticism of student solutions from previous years. 6. CF error detection w/rubrics (omit CAI, WebCT, this year). D. Review intervals, up & down, and mention harmonic inversion, as time permits. Mention difference between harmonic and melodic inversion. Homework Assignment #2: Due Friday (9/6) A. Study CFs on p. 11 of Salzer/Schachter or pp Jeppensen (both on website). 1. Sing several until you absorb the style don t just look at them. Memorize two. 2. Write two of your favorite cantus firmi by hand and from memory on staff paper. Put them in alto clef, with barlines and 2/2 meter, and turn them in to me. B. Do CF Error-detection Exercises p. 1 (#1 10) (on webpages). C. Write three original cantus firmi strictly according to the rules: 1 in treble clef, 1 in bass clef, and 1 in alto clef. I will grade at least three random ones. Changed from six to three. 1. Each melody should be in a different key signature, with at least one in a minor key. 2. Check yours thoroughly for any errors listed on the CF handout and grading rubric (unrecovered leaps, not using melodic-minor scale in minor keys, missing barlines, missing cut-time time signature, etc.). 3. Be able to sing yours with solfège and with numbers, if asked in class. [You can print out free staff paper from D. Read K&P, pp , as needed, and do self-tests on pp and Turn in your answers, either electronically (scan) or with photocopies. Do not tear pages out of your text! And, remember to check your answers against those posted on the website. We will have a timed quiz on fundamentals Friday. See sample quizzes on the webpage. Page 5 of 65

6 How to do the species copy from Salzer/Schachter. 0. Check out the book from library reserves. 1. Do this before you start error-detection or cantus-firmus writing. 2. Learn the sound of a cantus firmus. Some of the PDFs on the website have music. 3. Analyze the intervals, and notice the features particular to cantus firmi you re learning. 4. Memorize the musical example (both voices). 5. Write the melodies down from memory and by hand. 6. This is the traditional and good way to learn about musical styles: Learn the rules, learn from examples, model after those examples. Page 6 of 65

7 Friday 9/6 Review interval ID and CF writing In class: A. Timed quiz over key signatures (major & minor). At first, moderate time per ID, but will be less in future quizzes until immediate recognition is required. Can drill this with or See Sample Quiz I on website. B. Do CF error detection with class s solutions. C. Practice intervals, dissonance & consonance. D. Review all Chapter 1 topics, and practice speed at interval recognition. E. Show how to do first-species error-detection with self-test #1. Homework Assignment #3: Due Monday (9/9) A. Review K&P, as needed. B. Do K&P Workbook: p. 7 (Ex. 1 4) A#1 15 pp. 7 8 (Ex. 1 5) A#1 5, B#1 5, C#1 5. p. 9 (Ex. 1 6) A#1 5, B#1 4, C#1 5. C. Do CF error-detection exercises p. 2 # [Always listen or sing these before examining visually! You can print another copy of the website.] D. Learn about first-species counterpoint: 1. Read Fux, pp , as desired, playing all examples at the piano to hear them (on reserve and on website). 2. Study all the handouts on first species posted on the website, as needed. You wish to look at 3. Play a good first-species counterpoint in Salzer/Schachter (on reserve and website), memorize it, write it down by hand from memory, and analyze it by labeling the intervals between the parts. [To see an example of how to analyze firstspecies, see the Species Analysis handout on the website.] 4. Do First-species Self-tests p. 1 (#1 3). Download, listen to each example, find the errors, check with posted answers, and read the explanations. Submit either in paper copy or electronically. E. Start working on the preliminary keyboard-harmony exercises posted on the course website. Reminders: 1. You should be doing musicianship (esp. MacGamut) a little everyday. (It was due Thursday morning.) 2. If you can t do intervals without hesitation, you should continue to drill your interval spelling and recognition with or MacGamut written or aural intervals. Page 7 of 65

8 How to do Species Error-Detection Self-tests correctly: 1. Do these like a mature & motivated student, such that you are learning and not just fulfilling the assignment for a grade, 2. Read about the rules of the species, download the error list (rubric), and listen to good examples thereof, 3. Listen first to each error-detection exercise, and try to circle the areas with errors you hear, 4. Now, review the rules and error lists, 5. Label all the vertical intervals between the two staves (e.g., M3 ), checking for errors along the way, e.g., P5 followed by P5 is parallel fifths (error 4 ). (You may wish to look at the sample species analyses posted on the course webpage.) 6. Search visually in the exercise for errors, by going down the error list one-by-one. The list of errors is the first-species rubric. (You are memorizing the rules and how to catch errors in your and peers compositions.) 7. Check your answers with the posted solution, correct those answers, and read the explanation underneath each example, 8. Listen to the exercise again, learning the sound of good and bad basic 16 th -counterpoint, 9. Turn in the exercises, if required. Page 8 of 65

9 First-Species Counterpoint (3) Goals: 1. Set a 1:1 counterpoint to a given cantus firmus, obeying strict rules of voice-leading. 2. Speed up music-theory fundamentals from Chapter 1. Monday 9/9 First species In class: A. Answer questions on theory fundamentals, including some review. B. Answer questions on CF writing and ED. C. Lecture on First Species, pointing out the following stereotypical mistakes: 1. L.T. in minor needed at cadence (i.e., a sharp needed at the end in minor keys). 2. Calculating intervals correctly. Write intervals (distance & quality) between staves. 3. No dissonant intervals or parallel octaves/fifths are permitted. Mention direct octaves/fifths (moving to a perfect interval in similar motion is bad). 4. Dissonant melodic leaps not allowed. 5. In lower counterpoint, start with P8 or P1. Can t use P5 below in a lower counterpoint, because it implies wrong key. 6. Show x method of writing it (put all acceptable intervals above CF). 7. Show the voice exchange to handle perfect octaves in the interior. 8. Show previous years solutions as examples of good & bad. [Very good examples of errors from MUS111 F11 dm below assign.] 9. Go over any questions on first-species self-tests. Cite all handouts, which are on the course webpages, and supplemental readings on the website (Fux, Salzer/Schachter, pp , and Jeppesen) D. Review music fundamentals, including minor key signatures, scales, and intervals. Homework Assignment #4: Due Wednesday (9/11) A. Find, memorize, and write down from memory by hand one of the good first-species solutions from Salzer/Schachter (on reserve). Label all the harmonic intervals in between the staves. As always, remember to play or listen to the counterpoint! B. Do First-species Error-detection Self-test Exercises #7 8. [You are encouraged but not required to do the rest of the self-test pages. Do not merely copy down answers to save time.] C. Write one first-species counterpoint above the given CF, obeying all the basic rules: CF#1: D-E-F-D-G-F-E-D (d minor). [Your counterpoint will be in treble clef above the given CF in alto clef, all in whole notes. You ll label all intervals in between the staves. Also, remember to sing and listen to everything, as you compose and check your work, to develop a good ear and a professional competence at classical music.] D. Do a few exercises from Shumway, CH1 2, as necessary. The pages are avaliable through a link on the course website. (You don t turn any Shumway at this time.) Timed quiz on scales, key signatures, and intervals on Wednesday. Practice these, as necessary. Page 9 of 65

10 Wednesday 9/11 Review Intervals and 1 st Species. In Class: A. Review intervals, esp. in downward direction, and explain need for correct spelling, with Practice Quiz II on website. B. Side track on tuning and intervals, because of class s interest. C. Timed quiz on key signatures, scale writing, and intervals. D. Review first species, concentrating on secondary rules and stylistic issues. E. Practice writing first-species exercises in class, as time permits. (Demonstrating the cheating method of putting x above CF at allowable intervals.) F. Introduce chords and chord spelling, if time permits. Homework Assignment #5: Due Friday (9/13) A. Do K&P Workbook: (Same stuff as assign #3 so look at the feedback back then!) p. 7 (Ex 1 5) A#6 15; B#6 15; p. 8 C#6 15; (was C#6-20) p. 9 (Ex. 1 6) B#5 8; B. Do First-species Error-detection Exercises p. 1 (#1 5) properly. [Always listen to, play, or sing exercises before examining visually! See the sample analysis of first-species or the first-species self-test answers on the webpages, if you need to know how to proceed.] C. Write one first-species counterpoint below the given CF, obeying all the basic rules: D-E-F-D-G-F-E-D (d minor). [The CF will be in alto clef and your counterpoint will be in bass clef. You may wish to reference the step-by-step approach taught in the First-species Writing handout posted on the course website.] D. Continue your personal study of Shumway, CH1 2, and add CH3. Reminder: As needed, speed up and increase your accuracy at key signature, scale, and interval recognition and spelling with and MacGamut Make Your Own Drills. Moved 1 st ED #11-15 to later in assignments. Page 10 of 65

11 Friday 9/13 Review First Species and Introduce Chords In class: A. Quiz II. See Quiz II and Sample Quiz II on website. B. Introduce triads and seventh-chords qualities and figured bass, doing inversions from figured bass instead of K&P method. Refer to Chords handout and p. 3 of the Form Notation handouts on the course website. C. First species reductions (SalzerSchachterPp pdf on website ). D. Review first species by looking at examples from class s homework solutions: 1. Need sharp in minor for the leading tone at the cadence 2. No parallel fifths and no parallel octaves (costs lots of points) 3. Write intervals between staves and calculate them correctly 4. Dissonant intervals between parts not allowed 5. Dissonant leaps in melodies not allowed 6. Lower counterpoint can not start with a P5 (can have only P1 or P8 below) 7. Good melodic shapes (CF like) with no successive leaps, mostly stepwise, one high point, use melodic minor, avoid the TT naturally occurring in scales E. Discuss musicality in species writing by seeing First Species Considerations handout on the website. D. Introduce Finale, as time permits. E. Go through Shumway, CH1 3. Homework Assignment #6: Due Monday (9/16) A. Do First-species Error-Detection Exercises p. 2 (#6 10). [Always listen to, play, or sing exercises before examining visually!] A. Read K&P, pp B. Do K&P self-tests in pp. 39A, B#1 7, D#1 7; pp A#1 7, B#1 8, C#1 7; p. 47 A, and submit. C. Write one two beautiful upper first species while fulfilling all the major & minor counterpoint rules. Use a voice-exchange, if possible. CF #2: C-D-E-F-G-D-F-E-D-C (C Major, alto clef) D. Practice Shumway, CH1 3, on your own at the keyboard. Note: If you get any items wrong in your K&P self-tests, please bring questions to class. If you re simply slow, consider doing exercises on or MacGamut, in addition to assigned homework. Deleted from assignment to reduce size: CF #3: D-F-E-D-G-F-A-G-F-E-D (d minor, alto clef) Page 11 of 65

12 WEEK 4 CHAPTER 3: Introduction to Triads and Seventh Chords (2) Goals: 1. Identify and produce the four standard triads in any inversion. 2. Identify and produce the standard types of seventh chords in any inversion. 3. Be fluent in identifying inversion with and by figured-bass symbols. Monday 9/16 Chord spelling & recognition In class: A. Lecture over Triads and Seventh Chords (Chapter 3). 1. Triads in root position. a. Intervallic content, spelling, visual recognition, listening. b. Figured bass symbols: (!), #, b, 5b, 5+ (5# ),. (5b = dim triad.) 2. Triads in inversion. a. Concept of inversion do you believe in it? b. Intervallic content, spelling, visual recognition, listening, etc. c. Figured bass: 6 and chromatics (flat (b) or sharps (#, +, /). 3. Seventh chords in root position. (Delayed until Wednesday.) a. Intervallic content, spelling, visual recognition, listening, etc. b. Notation for RN: 7 implies Mm7, m7 needed for mm7, M7 for MM7, ø7 for dm7, o7 for dd7. c. Figured bass: 7 (7/5/3) and chromatics. 4. Seventh chords in inversion. a. Intervallic content, spelling, visual recognition, listening, etc. b. Figured bass: # (6/5/3), $ (6/4/3), % (6/4/2) and chromatics. Figured-bass symbols should be memorized for immediate recall and use throughout the four semesters. B. Prepare students for their homework, esp. how to figure out chords from a figured bass (help them start with K&P wkbk, p. 23, B#1). C. Check on Shumway, CH1 3, and introduce CH4. D. If time permits, practice writing first-species exercises in class or go over class CFs, as time permits. Go through more subtle rules and features now. Homework Assignment #7: Due Wednesday (9/18) A. Read K&P, pp B. Do self-tests, p. 47 A#1 7, p. 51B#1 13. Submit. USE THE FIGURED-BASS SYMBOLS TAUGHT IN CLASS ( # for a raised third, etc.), not merely the inversion symbols K&P use in the self tests. C. Do Workbook: p A#1 6, B#1 15, D#1 7; p. 21 A#1 7, B#1 7; C#1 7; p. 23 A#1 7, B#1 (#1 13). On B, ignore the directions and just give me the chord quality with standard symbols and the figured bass; e.g., b o6#. Page 12 of 65

13 [Old edition p. 19 B#1 5 no longer exists in 7 th ed., skip. P. 19 C#1 15 is now p. 19B#1 15 in new edition.] Page 13 of 65

14 Wednesday 9/18 Review of chord spelling In class: A. Review triads and seventh chords in root-position and in inversion. Practice and speed up spelling and recognition. B. Review notation, including complicated figured bass, and demonstrate. C. Prep for wkbk, p. 26 (chorale analysis), using Puer natus (on website). D. Timed quiz on key signatures, scales, intervals, and chords. E. If time permits, practice first-species error-detection, writing, and analysis. Mention the Species Analysis Handout on the website. F. If time permits, introduce Roman numerals (CH4). Homework Assignment #8: Due Friday (9/20) A. Do the self-tests, p. 52 B#3. Submit. B. Do Workbook: p A#1 4; B1 #1 17. [Remember that all sharps and flats above the bass that aren t in the key signature need to be in the figured bass! This is different than K&P, but more like how many theorists and other textbooks do it.] C. Do First-species Error-Detection p. 2 (#6 10) p. 3 (#11 15). [Always listen to, play, or sing exercises before examining visually!] Remember MacGamut is due Thursday! You should not be cramming, because you have been practicing a little each day along the way, because you really want to be good at this. Right? It takes maturity and about 5 min./day for any skill not yet mastered. Strong suggestion: Practice chord spelling and ID until fast and accurate with Written Drill Chords on MG or with including triads and seventh chords. Deleted from assignment #7 previous class, due to time.: 1 st species ED #11 15 K&P wkbk p. 24 C. ;Changed after assigned in 2011: removed p. 50 from self-tests. NEXT TIME: delete p. 19B, p.20d, p.22c to reduce size of homework. Changed selftests from pp to Changed this from two to one first-species: D. Do two first-species counterpoints (one above and one below) to the following CF: CF#4: D-G-F#-B-A-G-F#-G-F#-E-D (alto clef, D major). NEXT TIME: Need practice at figured-bass, esp. in minor keys with viio6, V#, etc., before Test I NEXT TIME: give analysis exercise on 2-part or outer voices in various styles w/intervals to determine cadences and style w/palestrina, Bach, Franck, Messiaen, Hindemith, etc. NEXT TIME: Do intervallic analysis exercise earlier and do subsequent ones. Page 14 of 65

15 Friday 9/20 Review and chords in non-chorale textures In class: A. Review scales and key signatures. Spelling scales in different key signatures. B. Review intervals. C. Figured-bass review. D. Instruct on how to do Figured Bass Notation Exercise with self-test on the website. If time, permits do figured bass ( Wir Christenleut on website) and spelling chords from given figured-basses ( Christus, der uns selig macht on website). E. Review triads and seventh chords. F. Doing chordal analysis in non-chorale textures: show how to stack up chords in thirds in workbook pp G. How to read open score (self-test p. 59 C). H. Go through sample quiz III? I. Mention lead-sheet (pop) symbols (prepare for wkbk p. 25A), if time permits. Homework Assignment #9: Due Monday (9/23) A. Do Workbook: p. 17 F#1 7, G#1 9, H#1 9; [interval review] p. 19 B#16 23; p. 21 A#8 15, B#8 15; [chord spelling & ID] p. 28: B2 #9 19; [piano textures with chords] p. 29: B3 #1 9. [piano textures with sevenths] B. Do Figured-bass Notation Exercise #1 posted on the course website, and turn it in. C. Write one two first-species counterpoints, one above and one below, the following CF: CF: D-G-F#-B-A-G-F#-G-F#-E-D (alto clef, D major). [Make sure to sing through your counterpoint and play your solution at the piano. Work on musicality as well as check for errors these ways. Build your intuition!] Timed quiz on Monday. Start reviewing Chapters 2 3 and start practicing with MacGamut & until you re really fast and accurate for our upcoming test! You need a few weeks to do this. Page 15 of 65

16 WEEK 5 Chapter 4: Diatonic Chords in Major and Minor Keys (2) Goals: 1. Label diatonic passages (M & m) in homophonic textures with Roman numerals. 2. Roman numerals will reflect the quality of the chord, while figured-bass symbols represent the inversion and reflect any accidentals above the bass. Monday 9/23 RN in major keys, figured bass, and chord review In class: A. Ask for questions from homework and do a few problems from therein, including triads and seventh chords in piano textures, i.e., reducing complex textures to basic chords. B. Review chord analysis and figured bass with Christus, der uns selig macht (website), if time permits. C. Teach Roman numerals, and the chords to memorize! Show how it s faster! D. Show Roman-numeral analysis of diatonic triads, emphasizing major keys (for now). E. Briefly present common triads (i, iv, V # ) in minor keys. Notice the harmonic minor! F. Emphasize the figured bass in minor keys: V # and vii o6# (wkbk p. 26). In major, the notation V is fine; but, in minor, you must put V # and V 7/# to indicate the raised third above the bass (unlike in K&P). G. Introduction to continuo playing and review of figured bass. a. Review of complicated figured-bass symbols, in preparation for homework. b. Play a few progressions with 5/3, 6, and 6/4 from Morris text and real music to demonstrate the skill. c. Discover the sound of progressions using R.N., pointing out certain effects (circle of fifths, deceptive motions, etc.) and having the class provide R.N. G. Timed quiz over scales, key signatures, intervals, etc., if time permits. See Quiz III and Sample Quiz III on website. Homework Assignment #10: Due Wednesday (9/25) A. Read K&P, Chapter 4, pp , memorizing the standard Roman numerals for major & minor keys on p. 65. Remember x M7 and such! B. Do self-tests, pp A#1 7, B#1 7, C#1 8 ; p A#1 7, B#1 7; C#1 10, doing Roman numerals by memory. Check against self-test answers on the web. Submit. Reduced size of homework. Self tests were originally all pp Next year, will do 1 st sp ED for real, as they will have done the self-test(s) already.d. Do first-species ED Self Test # Moved Fig. Bass Handout #1 to later [To reinforce what you re learning for the future, remember to listen to all musical excerpts on the CD in your workbook! Play chords on the piano!] Page 16 of 65

17 Elements of Rhythm (Chapter 2) Goals: 1. Be able to read and notate rhythms presented in the text, including correct beaming. 2. Understand the standard simple and compound meters in the text, and be able to identify them aurally. 3. Teach sesquialtera and hemiola (not taught in K&P). Wednesday 9/25 Rhythm, meter, and RN in minor keys In Class: A. Brief review of music-theory fundamentals, esp. Roman numerals and figured bass. B. Roman numeral-analysis of diatonic triads, emphasizing minor keys now. In minor, figured bass for V # and vii o6# chords almost always include accidentals. D. Meter and Rhythm 1. Vocabulary: pulse, beat, pace, tempo, rhythm, meter, hypermeter, hemiola, sesquialtera. 2. Definition of and aurally establishing meter: accent, dynamics, harmony, etc. 3. Beaming, what the dotted note represents (and not), hemiola, sesquialtera, polyrhythm (2 vs. 3), etc. 4. Duple vs. triple meters 5. Simple vs. compound meters 6. Fill-in-the-rest exercises, and 7. Rebeaming exercises. E. Timed quiz on memorized all fundamentals and Roman numerals. Homework Assignment #11: Due Friday (9/27). A. Read K&P, pp B. Do self-tests, p. 26A; p. 29 A; p. 31 A; p. 35 B, C, D. Submit. C. Do Workbook: p : A#1, 3, 5, and 6; B#2, 3, 5, and 7; C#1 [RN in major] p. 31: A#2, 4, and 7; B#1, 4, 6. [RN in minor] D. Do Workbook: p. 27: B2 #1 8. p. 23 B2 [fig. bass review] (If you turned in some needed pages of the workbook and don t have them available, you may photocopy relevant pages from someone else s workbook or get it from me on PDF.) Deleted from assignment: p. 11A#1 8 (note values), p. 12 C#1 7 (review of scale degrees); p. 15 B#1 6 (fill in rests); Page 17 of 65

18 Friday 9/27 RN for 7 th chords, counterpoint relationships In class: A. Review Chapters 3 4, and emphasize being fast & accurate. Common RN in both major and minor are to be memorized for fast recall! B. Practice RN analysis with Forest Green and Ebenezer (on website). C. Roman-numeral analysis of seventh chords in major & minor. D. Answers questions on homework and clear any confusion on Chapter 2, practicing rebeaming and fill-in-the-rest exercises until comprehension occurs. E. Practice R.N. analysis with musical scores from Burkhart and other places, and with figured basses from Schumway, Burkhart, and/or Morris. (E. Timed quiz on key signatures, scales, intervals, and chords.) Homework Assignment #12: Due Monday (9/30). A. Read K&P, pp , and memorize Roman numerals in Examples 4-8 and 4-9. B. Do Self-tests, p. 63A#1 7; p. 64 B#1 7; and p. 64 C1, doing RN by memory. Submit. C. Do Workbook: p. 13 A#1 5; [rhythm & meter] p. 14 A#1 5; p. 16 C#1 6, D#1 2. D. Do first-species ED# (You may wish to first study the 1 st species Self-Tests.) E. Do one stylish first-species exercises below the given CF: CF#5: C-D-E-F-G-E-F-D-C (CM, alto clef). Use a voice exchange, if possible, to demonstrate how one handles octaves. An interesting reading on meter is by Bach s student and Mozart s contemporary, Johann Kirnberger: You may wish to study for Test I now, with the review sheet and sample test(s) on the course webpage. If you turn in a completed sample test, you will earn five extra credit points towards your real test score. You may ask the tutor, peers, and others for feedback on that sample test as much as you wish, prior to the real exam. Reduced size of homework. Was self-tests pp all. Removed this direction: Bring your Burkhart anthology to class on Monday, you own it. You will need to photocopy some workbook pages from the one on reserve. Reduced size of homework further for F2011 class. Removed upper cntpt and just left lower. D. Do two stylish first-species exercises (one above and one below) with the CF: CF#5: C-D-E-F-G-E-F-D-C (CM, alto clef). Use a voice exchange in at least one exercise to demonstrate how to handle octaves. Page 18 of 65

19 WEEK 6 Monday 9/30 Counterpoint and music, interval analysis In Class: A. Relationships between real music and contrapuntal exercises. (S&S, pp , 226, and 233) B. As needed, review writing CF and first-species counterpoint, esp. D5 and D8. C. Review error detection with CF and first-species. D. Review topics from our review of music-theory fundamentals (Chapters 1 4): key signature, scales, intervals, rhythm, meter, triads, seventh chords, chordal inversion, figured bass, and Roman numerals. E. Practice Roman numerals with hymns from last time, and then move to textures, Schubert s Ständchen and Mozart s Offertorium. F. Remind students that all homework and redos for Unit I are due by Test I! (no redos) Homework Assignment #13: Due Wednesday (10/2) A. Review K&P, p. 65. Make sure your RN are memorized! B. Do Workbook: p A#1 6; B#7 12; C#7 12, D#3 6; [rhythm/meter] p. 31: A#8 15, B#8 15; [RN review] p. 32: C#2 1 2; [RN chorale analysis] p. 33: A#1 7; B#1 7. [RN with sevenths] [Remember that MM7 sevenths such as IV M7 require the M in their notation! ] C. Do Cantus-firmus Error-Detection p. 2 #15 20, and turn them in. [Always listen to or sing exercises before examining visually!] If you are missing workbook p. 15, you can get it here: You will want to study for our first test. 1. Look at the review sheet on the webpages for this course. 2. Optional: Take the practice test several days before the exam, so that you will have time to work on any slow or missing skills that you discover. a. Study for the practice test as if it were the real exam. b. Only give yourself the allotted amount of time and do not consult any books or people while doing it the first time. c. Next, have a classmate (or enemy!) grade it. d. Fix everything that is wrong on it. e. Turn it in before the test, if you desire the extra credit for it. 3. Also, you should know that any homework redos for Unit I (wkbk, selftests, 1 st species, etc.) must be submitted before the test. After the test, you cannot resubmit any homeworks from assignments #1 10 for credit. Use could use this redo opportunity to review items that you need to strengthen. 4. Drill your key-signature recognition, interval ID & writing, chord ID & writing, Roman numerals, etc., with MacGamut, etc. Get some speed! Deleted from assignment this year: Wkbk p. 11 A#9 16; p. 26: B1 #18 34; Omitted from lecture: C. Analysis of style and phrasing using intervals: counterpoint and melody. (A future homework will be based on this discussion.) All excerpts in Burkhart. 1. Bach, Jesu, du bist mein, So gibst du nun..., Jesu, meine Freude 2. Chopin, Prelude in cm 5. Oliver, West End Blues 3. Ravel, Sonatine 6. Lassus, Beatus Vir 4. Hindemith, A Swan 7.. Purcell, Dido s Lament 5. Bartok, Diminished Fifth 8. Anonymous motet, Las!==Dones sui Eius Page 19 of 65

20 Second-Species Counterpoint (2) Goals: 1. Set a 2:1 counterpoint that employs passing tones against a cantus firmus and that obeys voice-leading strict rules. 2. Understand strict handling of dissonances and its powers in Western music. 3. Use second-species exercises as an outer-voice model for a musical composition. 4. Understand differences between strict (CF) and normal melody writing. Wednesday 10/2 Introduction to Second species In Class: A. Second-species counterpoint: (Second species is not on Test I.) 1. Location and handling of dissonance. 2. Good melodic line and ranges. 3. Melodic minor requires accidental for leading tone at cadence. 4. Common errors to avoid (implied parallels, nt, diss on strong beat, etc.). 5. Show how to analyze (put in intervals, check dissonance usage, etc.). Use second-species handouts on website. B. Melody writing (not CF nor species writing): 1. Compare and contrast species lines with freer melodic writing in real music (and the K&P textbook). 2. Show how normal melodies are fundamentally based on CF principles with surface convolutions. 3. Melody error-detection exercises. Use handout on website comparing CF writing to melody writing. C. Notation of chords and open/closed voicings. D. Review for test, as needed. Homework Assignment #14: Due Friday (10/4) A. Do Workbook: p. 33 A#8 15; B#8 15; [RN 7 th review] p. 34 C#1. [review of RN in basic textures] B. Do First-species Error-detection exercises p. 4 (#16 20). [For review of 1 st ED.] [Always listen to, play, or sing exercises before examining visually!] [If you re missing wkbk pages, they can be found here: Test I is on Friday! There is an optional practice test online it s extra credit. After Wed., redos and late homework assignments #1 11 are also not accepted for credit. (No redos) MG is due on Thursday morning, as planned in the syllabus. Omitted 1 st ED #11 15 to reduce size of hmwk. Omitted C#2 it is part of a later assignment. P. 36B#2 moved to later assignment, after feedback from this assign is received. Page 20 of 65

21 Friday 10/4 Test In Class: A. Test I. Come up to 10 minutes early, if you would like or will need the extra time. You can not stay late to finish the exam, because another class uses the classroom. Homework Assignment #15: Due Monday (10/7) A. Read K&P, pp , and do self-test on p. 69 and pp for yourself. (Do not turn them in.) [You may wish to see the Melody Criticism table at the end of the CF error-detection handout. That list of errors may be clearer to you, as you look for problems in given melodies or those you compose.] [Incidentally, these notational and spacing errors are listed in Part-writing Criticism table on the last page of the First-Species Error List handout, posted on the course website.] B. Read Fux about two-voice second species, as needed, studying musical examples by playing or singing them as well as analyzing intervals visually. You may also refer to S&S, Jeppesen, and/or C. Listen to and copy by hand one attractive second-species solution you like from Salzer&Schachter, pp , on reserve in the library. Then 1. Write all the harmonic intervals in between the staves, 2. Circle all the dissonant notes (passing tones), and 3. Write an arrow pointing to the required consonant resolution of each passing tone. 4. Turn in this analysis of the second-species solution for a grade. [For example species analyses, see the Species Analysis handout on the course website.] D. Do Second-species Error-detection self-tests 1 (#1 7) & 2 (#8 14) and turn them in. [Always listen to, play, or sing exercises before examining visually!] Delayed this part, because we now have self-tests: Do second-species error-detection exercises #1 5 (first page). OMITTED ASSIGNMENTS: Learning notation software. B. Using Finale in the computer lab or Finale Notepad at home (download from or Finale Workbook (comes with your workbook), (1) notate your favorite cantus firmus from Assign. #2, (2) it to me at ProfCouch@tamu.edu by 6AM Monday, and (3) print it out for me. (See instructions on next page.) It is highly preferred that you use the full version of Finale, not notepad or workbook. C. Using Finale in the computer lab or Finale Notepad or Finale Workbook, (1) notate your best first-species exercise from any assignment, (2) it to me at ProfCouch@tamu.edu by 6AM Monday, and (3) print it out for me. It is highly preferred that you use the full version of Finale, not notepad or workbook. F. Intervallic phrase analysis (like we did in class on Wednesday). Notice composers dates! 1. J. S. Bach s chorale Ach, wie flüchtig, ach wie nichtig (Burkhart, pp ). a. Write the outer voices on a piece of staff paper, and write the intervals between the two lines, noticing the first- and second-species counterpoint. b. Although there are a number of fermatas, not all represent stopping points nor cadences. Find the true cadences by examining the interval usage (P8) and circle them. c. What are the most common on-the-beat intervals in between cadences? What are some of the intervals on the second eighth note of beats? d. Play the chorale (or have a classmate play it) on the piano to learn the sound of this sort of interval usage. 2. Milton Babbitt s children s song Play on the Notes (Burkhart, p. 524). a. Write the two lines in mm. 1 8 on staff paper, and write the intervals between the two lines. b. Notice how Babbitt uses intervals much differently than Bach. Is there a system to his compositional technique that you see? Write a few sentences. d. Play the song (or have a classmate play it) on the piano to learn the sound of this sort of interval usage. 3. L. van Beethoven s Adagio cantabile, Op. 13/2 (Burkhart, p. 260ff.). a. Write the outer lines in mm. 1 8 on staff paper, and write the intervals between the lines. b. In a few sentences, how does Beethoven follow and break counterpoint rules you know? b. In a few sentences, compare and contrast the interval usage to that in the Bach and Babbitt pieces. c. Using intervals, where are the cadences? Circle them. (Notice that phrases in piano music usually do not follow the articulation marks, the bowed lines people often call phrasing.) d. Play or hear it. It s at the library and on the web: 4. G. Machaut s motet, mm. 1 17, in Burkhart p. 8ff. Same directions as #3. Page 21 of 65

22 Chapter 5: Principles of Voice Leading (1) Goals: 1. Be able to notate four-voice chords correctly on a grand staff. 2. Be able to identify standard errors in melodies or four-voice settings visually and aurally (errors including range, spacing, awkward voice-leading, parallel perfect consonances). WEEK 7 Monday 10/7 Error detection in SATB partwriting In class: A. Review the class s second species, and answer questions. (The next class on Species II is next Wed.) B. Review R.N. (identification & spelling) in major and minor keys. C. Review basics in Chapter 5 done in readings this and last week: 1. Review melody writing (not just species style), 2. Teach error detection of melodies, 3. Teach 3v- and 4v- chord notation 4. Teach continuo (keyboard) style vs. choral style, including open score, 5. Review voicing ( spacing ): open vs. close, and 6. Review standard voice ranges. D. Introduce fundamental voice-leading issues in 4v chorale style (Chapter 5): Use Part-writing Error Self-test for examples. 1. Review types of motion from species: static, oblique, similar, contrary, and parallel (both acceptable & forbidden parallelism), 2. Connect error detection of chorales to that learned in species: parallel P5/P8/P1, unacceptable direct 5/8/1, unacceptable unequal 5 th s, spacing, crossed & overlapping voices, wrong notes, etc. Also, remind students that repeated notes or successive but non-parallel octaves/fifths aren t parallel errors. 3. Show the process to find all errors (it is unacceptable to not find all errors in your compositions from now on): a. Listen and do as much as possible by ear (important!), b. Sing each voice, c. Check each voice against each other voice for parallel and direct errors. (This includes parallel errors by contrary motion.) Also, unacceptable unequal fifths. d. Check the spelling of chords. e. Check chord progression after doing Roman numerals (learned in CH7). [See the Four-part Error-Detection Handout, and Four-part Error-Detection Self-test and the Common Student Errors handout on the course website.] E. Go over revoicing of chords at beginning of Chapter 6 (in prep. for Friday s hmwk), and connect that to Shumway already learned. F. If time permits, more on figured bass and/or R.N. analysis in real music. Page 22 of 65

23 Homework Assignment #16: Due Wednesday (10/9) A. Read K&P, Chapter 5, pp , and do self-tests, pp , for yourself. [Note that all the part-writing errors are listed more clearly in Part-writing Criticism table on the last page of the First-Species Error List handout. Melodic errors are listed on the last page of the Cantus- Firmus Error List handout. You may also wish to reference the Common Student Errors handout and its handout with musical examples, Common Student Errors Examples handout. All these are available on the course website.] B. Do Workbook: p. 35 A#1 2, B#1. (melody criticism) p. 37: B (spacing errors), p. 38: C#1 4; D#1 4 (chord notation), p. 39 A, B (voiceleading observations), and p. 40 C (4v error-detection exercises.) Do p. 38C only in four-voice (4v) chorale style, always doubling the bass in 5/3 chords. 1 D. Do Second-species Error-detection self-tests 2 (#8 14), and turn them in. [Always listen to, play, or sing exercises before examining visually!] E. Compose one second-species counterpoint above and one second-species counterpoint below the given cantus firmus: CF#6: C-D-F-E-F-G-A-G-E-D-C. Use alto clef for the CF, as usual. [You may wish to reference the Second-Species Writing handout on the course website. Sing your melody and listen to your solution by playing it at piano! You are building a musical tuition, of course, not merely getting exercises right who cares about intellectual knowledge without music-making?!!] Omitted from assignment: Compose original rhythms of at least two measures each in the following meters and notate them in Finale: 4/4, 2/2, 6/8. Use a few beamed note values to show your knowledge of correct beaming. Use any pitches you wish. [To change beaming in Finale, click on the note and use the key / in speedy-note entry.] 1 (An exception occurs for V->vi and especially V # ->VI in minor, where one can double the tonic pitch, the third of the vi chord, in order to have the leading tone rise to the tonic pitch.) [Note in p. 39B that repeated notes are not considered parallel; parallel means that two voices move together at the same interval between them. Parallel 3rds and 6ths are good, but parallel P1, P8, and P5 are not. Instead parallel P4s between upper voices is okay.] [Workbook exercises on melody ED are based on criteria in and modeled after self-tests in the K&P text pp , and not strict species rules.] Page 23 of 65

24 Wednesday 10/9 Species II (second day) In class: A. Review Chapter 5 and revoicing chords at beginning of Chapter 6. Due to missed day on Friday, go through error-detection procedures in detail. B. Detailed lecture on second species. C. Go through class second-species solutions. D. Do species composition in class. E. Timed quiz on intervals, triads/seventh chords, figured bass, basic Roman numerals, RN analysis, and melody error detection (don t do this now). F. Send 10/05/07 7:05AM entitled Species help? Homework Assignment #17: Due Monday (10/14) A. Do Second-species Error-detection exercises p. 1 (#1 5). [Always listen to, play, or sing exercises before examining visually!] B. Write two one beautiful second-species exercises fulfilling all the rules, one above and one below, to the following G-minor, alto-clef cantus firmus. CF#7: G-A-D-C-Eb-D-C-A-Bb-A-G. [Remember melodic minor, esp. the leading tone required at the cadence. Remember that the Bb and Eb will be in the key signature you place on the staff, not as accidentals. And, always sing and listen to whatever you compose!] C. Do Workbook: p. 41 part 1; (Revoicings like the self-test exercises in CH 6.) p. 34 C#2 (Review of Ch. 4 RN in choral score) D. Read Lecture on 5/3s from website. CH4, CH5, and fundamentals quizzes this week Friday 10/11 Fall Break Page 24 of 65

25 WEEK 8 Chapter 6: Root-Position Part Writing & Figured Bass (3) Goals: 1. Be able to connect any two root-position chords in a four-part texture with smooth and correct voice-leading. 2. Be able to write and identify HC, PAC, and IAC cadences. (We will mention DC.) 3. Be familiar with the concept of transposing instruments. Monday 10/14 Basic chord connection with root motions of 3 rd, 5 th, and 2 nd. In Class: A. Review and answer questions over second species, as needed, concentrating on errors. B. Review quizzes and Chapter 5 material, esp. error detection using error-detection handout. C. Teach root-position part-writing (CH 6) and harmonic cadences (PAC, IAC, HC, PC), using Handout on Root-position Part-writing and Lecture on 5/3s chords (key is on website). (Note that we are only doing 4v, not 3v.) D. As time permits, more figured-bass playing and analysis. E. Take CH4 (RN) quiz or CH5 (ED) quiz. F. Go over test, if time permits, esp. RN on 7 th chords and figured bass. Homework Assignment #18: Due Wednesday (10/16): A. Read Lecture on 5/3s, pp. 1 3 (on website). Read K&P, pp (by 3 rd and 5 th ). B. Do K&P self-tests pp and p. 85 for yourself (you will not turn these in). [On K&P exercises, you do not need to label the type of motion from K&P in the blanks above the staves it s a waste of time.] C. Do Workbook: p. 43 A#4 5; (5 th root motion) p. 45 A#4 5; (3 rd root motion) p : A#3, B#3; (review melody ED) [Remember that, in minor keys, the third of the V # chord needs to be raised to get the leading tone and to produce a major sonority. Also, any accidentals above the bass must be put into the figured bass next to the Roman numeral. Also put all leading tones in a box and put an arrow to their resolutions, as applicable. On workbook exercises, you do not need to label the type of motion from K&P in the blanks above the staves it s a waste of time.] D. Do Second-species Error-detection exercises p. 2 (#6 10). [Always listen to, play, or sing exercises before examining visually!] Omitted from assignment: Wkbk p. 44 A#1, B#1; p. 45 A#1,B#1 D. On Finale, notate your answer to one of the four-voice exercises in self-tests, p. 91 or p. 94 part (B). 1. You will need to enter each voice part separately in its own layer in order to get the stem directions right. (You can best get the stems to go the right direction in each layer by going to Options -> Document Options -> Layers, but you can do each note inefficiently by hand in speedy note entry instead.) 2. Put the appropriate Roman numeral below each chord using the text tool. 3. Delete all extra measures and put a final barline on your example. 4. Put your name and a title on the paper using the text tool. 5. Check through that your print out will look professional. 6. Print out your notation project, and turn it in. Page 25 of 65