03/22/07 Trevor de Clerq Aural Skills Quiz (Introdution) For this aural skills quiz, I have targeted an audiene of students ho should be relatively omfortable ith hearing sale degrees in both maor and minor modes. I have tried to reate a progression of exerises that takes this sale-degree hearing and extends it to settings here the partiular tonal environment has to be further and further internalized. As ell, I have attempted to gradually inorporate rhythmi elements into the ditations to help develop the onnetions beteen pith and rhythm during the quiz. In Part 1, hih is to be played very sloly and almost arhythmially, a simple sequene of sale degrees over a pedal should be easy for most students to omplete sine the toni is played throughout the exerise as a referene (probably restruk on the piano during ditation). This tonal referene persists in Part 2, but no the melodi shapes beome slightly less familiar and inlude rhythmi elements; these examples are short to allo students to easily play the fragments bak in their aural memory. Finally, in Part 3 a sequene of tonal melodies are given for a ombination of rhythmi and melodi ditations; the melodies in Part 3 have been arefully hosen to progress from easy (limited range and emphasis on toni sale degrees) to slightly harder and finally a trikier final melody that moves from maor to minor. I have not inluded any analysis in the exerises on purpose, but the ditations themselves inlude analyti aspets. For example, in Part 2 the student must determine the first note of the fragment based solely on the sounding interval ith the bass. I have avoided having the instrutor simply play stark intervals and having the students label them sine that proess seems divored from any musial ontext. I as going to inlude some questions on intervals beteen melodi notes, but it did not seem an appropriate sine the melodies alays exist in tonal settings here the sound of a melodi interval hanges depending on hih sale degrees it spans (e.g. the m beteen ^3 and ^1 sounds different than the m beteen ^1 and ^b); also, I anted to fous on topis diretly related to ear training and not overed by ritten theory. In retrospet, I think a signifiant disadvantage of this quiz is that it ould be too easy to omplete for students ith perfet pith. I am not entirely sure ho or hether it is orthhile to subvert perfet pith in favor of relative pith. At the minimum, the rhythmi aspets of the ditations ould be ust as diffiult for those students ith perfet pith as those ithout it. I ould have inluded exerises on rhythmi ditation only to orret this imbalane, but the rhythmi exerises alone (ithout pith) seemed too sterile. With grading, the system should be fairly obvious from the headers on the quiz itself. In Part 1, eah melodi note arries the eight of one point. In Part 2, four points for the pithes and three points for the rhythms seems appropriate. In Part 3, the 10 points ould be split equally beteen pith and rhythm. In the last to parts, a one-to-one mapping does not exist beteen the ansers and the point values as in Part 1, but the person grading should have enough disretion to make a udgement all on hat portion gets aarded in eah exerise. In summation: Part 1: 2 x 14 points = 2 points Part 2: x 7 points = 42 points Part 3: 3 x 10 points = 30 points Total = 100 points - 1 -
Aural Skills Quiz (Instrutor's Version) Trevor de Clerq Part 1: Simple Melodi Ditation (14 points eah) For the folloing to exerises, a melody onsisting of only quarter-note durations ill be played over a stable bass pith. Notate the melody in the spae provided (the beginning and ending note is given for eah). Ex. 1a) # # # # Ex. 1b) b b b Part 2: Melodi Fragments (7 points eah) For the folloing six exerises, a short melodi fragment ill be played over a held tone in the bass. Notate both the pith and rhythm of eah melodi fragment. (No penalty for inorret register sine no starting tone is given.). # # b b 2a) # 2b). AS quiz (instrutor) - p. 1
Part 2: Melodi Fragments (ontinued) Trevor de Clerq 4 3 3 # # b b 2) 2d) 4 3. b b.. # # # 2e) b.. 2f) Part 3: Free Melodi Ditation (10 points eah) Listen to the folloing exerpts from musial literature. Given the starting note, notate the melody using orret pithes and rhythms. 3a). Brahms, Symphony No. 1 Œ 3b) # # # 4 3 Œ... Handel, Chaonne (HWV435). Mussorgsky, Boris Godonov 3) b b AS quiz (instrutor) - p. 2
Aural Skills Quiz (Student's Version) Trevor de Clerq Part 1: Simple Melodi Ditation (14 points eah) For the folloing to exerises, a melody onsisting of only quarter-note durations ill be played over a stable bass pith. Notate the melody in the spae provided (the beginning and ending note is given for eah). Ex. 1a) # Ex. 1b) b Part 2: Melodi Fragments (7 points eah) For the folloing six exerises, a short melodi fragment ill be played over a held tone in the bass. Notate both the pith and rhythm of eah melodi fragment. (No penalty for inorret register sine no starting tone is given.) 2a) # 2b). AS quiz (student) - p. 1
Part 2: Melodi Fragments (ontinued) Trevor de Clerq 4 3 2) 2d) 4 3. b 2e) b.. 2f) Part 3: Free Melodi Ditation (10 points eah) Listen to the folloing exerpts from musial literature. Given the starting note, notate the melody using orret pithes and rhythms. Brahms, Symphony No. 1 3a) Handel, Chaonne (HWV435) 3b) # # # 4 3 Π3) b b Mussorgsky, Boris Godonov AS quiz (student) - p. 2