MU 151L: Weekly Musicianship Assignments

MU 151L: 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 teacher 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 27

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 27

Performance Assignments (tentative assignments) Week Hall Melodies Duets Sing&Play Variations Literature Shumway 1 Ch. 1 1 3 1 2 none none none none 2 Ch. 1 1 19 1 2 1 3 none 1 5,9 none 3 Ch. 1 20 30 2 3** 3 6,11 12* none 7 8,11,14 none 4 Ch. 2 8 15 13 14,16 12,16 none 10,12 13 Ch. 3 5 Ch. 2 48 57 24,28 12,16 none 32 33 Ch. 4 6 Ch. 3 36 42 14,27 none 30 all* 6,29 Ch. 3 4 7 Ch. 4 review 26,29 30 review 30 all* 15 20 Ch. 5 8 Ch. 4 review review review review review Ch. 6 9 Ch. 4 74 83 29 30 22 23 none 15 20 Ch. 7 10 Ch. 5 none 13 22 23 none 21 24 Ch. 8 11 Ch. 5 92 101 32,34 none 31 all* none Ch. 9 12 Ch. 6 103 14 none 30 none none Ch. 10 13 Ch. 7 128 41 35 38 34 none none Ch. 11 14 Ch. 7 review review review 32 all* review Ch. 14 15 review review review review review review review Totals Ch 1 7 Section 1 Section 1 Section 1 Section 1 Section 1 Ch 1 14 New Topics simple & compound, dotted notes diatonic solfège, chord outlines ensemble, tuning basic S&P coordination same as S&P same as Melodies spelling, 5/3, 6/3, 6/4; basic harmony & melody harm. Hall: Rhythm exercises. Berkowitz: Melodies, duets, sing-and-play, and literature in the 5 th ed. *Variations are only in the 4 th ed: http://teaching.profcouch.us/fall2011/berkowitzvariations4e_musicianshipi.pdf. ** Duets only in 4 th ed: http://teaching.profcouch.us/fall2011/berkowitzduets4e_musicianshipi.pdf. Shumway: Keyboard harmony and harmony ET. Page 3 of 27

Ear-training Assignments (tentative) Week Topic Intervals Scales Chords Rhythms Melodies Harmonies Due 1 intro. - - - 1 - - 2 scales 1 1 - - - - MG 1 3 int. 2 2 - - - - 4 triads - - 1-1 - MG 2 5 rhy. 3 4-2 - - - 6 dict. - - - 2 2 - MG 3 7 mel. 5-3 - - - 8 midterm 6 - - - 3 - MG4 9 - - - 3-1 10 RN 7-4 - - - MG 5 11 7 th s 8-4 - - 2 12 harm. - - - 4-3 MG 6 13 9-5 - - - 14 10 - - 5 - - MG 7 15 review review review review review review finals - - - - - - MG all Totals 1 10 of 18 1 2 of 10 1 5 of 14 1 5 of 17 1 3 of 18 1 3 of 20 28 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 MG components). Page 4 of 27

Week 1: Review of Fundamentals 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. 1. Explain solfège and numbers with handouts, and how to do sight-singing in Berkowitz. Handouts and information on the course website for download, include Solfege Handout, Article on Solfege, Number Handout, Article on Numbers, Solfege Wedge. 2. Show how to practice rhythms in Hall with conducting and beat numbers. Mention the Takadimi system. 3. Emphasize: Don t write the syllables in your book that undermines what you re learning! This includes melody singing, rhythms, duets, play-and-sing, etc. 4. Explain spell intervals and how to hear downwards melodic intervals on MacGamut: reverse the order, or use int. inv. Assignment for 8/28: 1. Hall: Read introduction, pp. 1 7; and, practice Chapter 1, p. 8 #1.1, 1.A, 1.C; p. 10 #1.H, 1.I (perform in class Thursday!). Use 1&2&. 2. Berkowitz: Practice p. 5 #1 3; p. 8 #17; p. 207#1 2. Learn solfège syllables & numbers, and perform melodies with them. 3. Start MacGamut ear-training software immediately! a. Buy your copy of MacGamut at bookstore, register it immediately! b. The MacGamut people will send you an essential file (called startup.mgs) as an email attachment. c. Keep the email and its attachment in your email 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 email! 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. First MacGamut scores are due via email in next week on Thursday! You may wish to do extra drills with http://good-ear.com/, http://musictheory.net, http://www.sonicfit.com/, and/or MacGamut s Make My Own Drill and Written Drill sections. Page 5 of 27

[old Berk pages not found; p. 5#1 3 are new to 5 th ed., same 207#1 2 are new to 5 th ed] Page 6 of 27

Week 2: Review of Fundamentals (continued) Goals: 1. Continue topics from the first week. Handouts: Chord Singing Sheet and Trichord Sheet. In class: 1. Solfege and numbers. See handouts on website. 2. ET intervals (intervals quiz in two weeks). See Solfege Wedge handout on website. **Next time: Need to cover intervals in class so that they can do their theory hmwk!!! * 3. Triad singing. See Chord Singing handout on website. 4. 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 email 09-02-07 7:06AM about MG. Assignment for 9/2, 9/4: 1. Berkowitz: Scalar passages with movable-do solfège, conducting, and a steady tempo. Practice pp. 5 8#1 19; pp. 345 46 #1 5, 9; p. 207 #1 2; p. 268 #1 3. Don t write the syllables in your book that undermines what you re learning! 2. Hall: Practice Chapter 1, pp. 8 12. Remember to try both one- and two-part rhythms, saying beat numbers and conducting. Also, see the improvisation on p. 12! Don t write the beat #s in your book that undermines what you re learning! 3. MacGamut: Do (aural) Scales #1, Intervals #1. If necessary, finish last week s assign. Do not use the piano to help yourself on ear-training exercises. 4. Keyboard: Get oriented and find notes. a. Be able to immediately find C, E, or G in any octave on the piano. b. Play intervals m2, M2, m3, and M3 up and down from any pitch on the piano. c. Learn an ascending one-octave C-Major scale with each hand. LH fingering 54321321 RH fingering 12312345 (If you have a MIDI keyboard, MacGamut s keyboard drills would help these!) 5. Shumway: CH1 3. TURN IN MacGamut scores via email to ProfCouch@gmail.com on Thursday by 6AM. This will be an encrypted startup.mgs file, not a text file (*.txt). You will have done Intervals #1, Scales #1, and Rhythms #1, OR a minimum of 60 mins. in each skill category. Make sure your name and submission number are in the filename, e.g., JoeBloeMG1.mgs. [5 th ed does not have all of old 4 th ed on pp. 3 5, and many are expanded to have antecedent-consequent phrase structures. P. 207#1 2 is new to the 5 th ed.] Page 7 of 27

How to practice play-and-sing 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 27

Week 3: Fundamentals (continued) Goals: 1. Recognize triads when sight-singing. 2. Sing triads in root position. (We will work on and talk about this more later.) 3. Build coordination for keyboard and singing. 4. Continue working on previous material. Class: 1. Hearing triad qualities in root position. 2. Quiz 9/11 P&S p. 268 #2 3. (See email on 9/19/11 @ 3:55PM.) 3. Quiz 9/9 Hall, CH1, any single-line rhythm with conducting and beat numbers. Assignment for 9/9, 9/11: 1. Berkowitz: Practice pp. 8 10 #20 30; pp. 106 7 #2 3 (old ed); pp. 207 209 #3 6, 11 12; pp. 346 47 #7 8, 11, 14. 2. Hall: Practice, Chapter 1, including melody improvisations off given rhythms. 3. MacGamut: Do (aural) Intervals #2, (aural) Scales #2. Try to attain mastery! (If you didn t master ear-training from earlier assignments, continue working on it every day! Also, work towards next week s assignment and submission.) 4. Keyboard: Getting oriented. a. Be able to immediately locate F#, Bb, C#, and Ab in any octave on the piano. b. Play intervals m2, M2, m3, M3, and P5 up/down from any given note on piano. c. Play one octave of F- and G-Major scales on the keyboard using one hand. GM fingering is same as CM. F major is 54321321 (LH)/ 12341234 (RH). (If you have a MIDI keyboard, MacGamut s keyboard drills would help these!) 5. Shumway: CH1 3. 6. Additional singing: Sing triads in root position: Major (C E G), Minor (C Eb G), Augmented (C E G#), and Diminished (C Eb Gb). See Chord Singing Handout. Remember that MacGamut scores are due next week on Thursday. Duets p. 106 107 #2 3 only in 4 th ed: See the link on the course website. Page 9 of 27

Week 4: Fundamentals (continued) Goals: 1. Continue refining skills from first three weeks. 2. Introduce Shumway, CH4 (5/3 spelling). In class: 1. Go over dictation skills in class for next week s quiz, and give students hints on how to learn MacGamut melodies. 2. Go over how to hear triads in inversion: get the bass, figure out inv. from that not from distribution of voices! 3. Quizzes: Thursday SS, rhythm, and/or interval quiz. 4. Prepare students for alto clef in Week 5. Assignment for 9/16, 9/18: 1. Berkowitz: Practice pp. 6 7 #8 15; p. 208 11 #13 14, 16; pp. 270 #12a&b,16; pp. 346 47 #10,12 13. [Old edition: Practice pp. 6 7 #25 32; pp. 107 8 #10 13; pp. 144 145 #12a&b, 16; pp. 262 63 #10, 12, 13.] 2. Hall: Practice Chapter 2. 3. MacGamut: Chords #1 [triads in root] and Melodies #1. Attain mastery! (Make sure you ve learned the chord sonorities well and haven t just passed it by chance of the selections given. This should be obvious!) 4. Keyboard: Play Bb- and D-Major one-octave scales on the keyboard using one hand. Bb = 41231234/32143213; D=12312345/54321321 5. Shumway: Practice Project 4. Do exercises as needed in continue style ( keyboard style ), with the three notes of the chord in the RH and the bassnote only in the LH, until you can do each without hesitation. TURN IN MacGamut scores via email to ProfCouch@gmail.com on Thursday by 6AM. (You will have done Intervals #1 2, Scales #1 2, Chords #1, Rhythms #1, and Melodies #1, OR a minimum of 60 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). [p. 107 #11 not in new ed., and 208#13 is new to 5 th ed] Page 10 of 27

Week 5: Fundamentals (continued) and Moveable-C Clefs (Alto and Tenor Clefs) Goals: 1. Work towards fluency at reading alto clef, and understand how tenor clef works. 2. Refine fundamentals encountered during the first month of class. 3. Reinforce meter identification. 4. Introduce aurally identifying hemiola and sesquialtera (taught concurrently in theory class this week). In Class: 1. Do meter identification with Linker s Var. on O Waly, Waly. 2. Quizzes 9/23 Melodic dictation quiz. [Last year did P&S pp. 145 #12a&b on Tues.] 3. 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 9/23, 9/25: 1. Berkowitz: Practice pp. 15 16 #48 57; p. 213 14 #24, 28; pp. 351 #32 33; pp. 270 72 #12a&b, 16. While singing alto- and tenor-clef melodies, say the note names (not solfège). 2. Hall: Practice Chapter 2 (continued). 3. Play one octave of A-major and E-flat-major scales with one hand, ascending and descending. AM=12312345/54321321; EbM=31234123/32143213 4. MacGamut: Do Intervals #3 4 and Chords #2. Try to attain mastery! 5. Shumway: Practice Project 4. Do all exercises in continuo style (three notes in the RH and the bassnote in the LH). Make sure you are spelling and playing without hesitation. Remember that MacGamut scores are due in next week on Thursday. 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 27

Week 6: Fundamentals (continued) and Triads Goals: 1. Recognize and sing standard triads (M, m, A, d) 2. Recognize outline of chords in melodies. 3. Be able to sight-sing in minor, using any of the three minor scales. In Class: 1. Talk about and start practicing for midterm, including alto clef. 2. How to hear all inversions of triads. 3. Quizzes alto clef quiz on Tuesday; chord ET quiz on Thursday. 4. Introduce Shumway Project 5 (figured basses with I & V in 5/3). Assignment for 9/30, 10/2: 1. Berkowitz: Practice pp. 11 12 #36 42; p. 210 #14, p. 213 #27; (old edition photocopy pp. 151 52 #30 all); p. 346 #6, p. 350 #29; pp. 385 88 #10 20. 2. Hall: Practice Chapter 3. 3. MacGamut: Do Rhythm #2 and Melodies #2. Attain mastery! 4. Keyboard: Spell and play a major, minor, diminished or augmented chord in root position with any given bass note on the piano. (Be able to do without hesitation!) 5. Shumway: Practice Projects 5 (5/3 fig. basses only) in continuo style, as usual. See http://teaching.profcouch.us/spring2011/mut12200_individualexamdemonstration1.mp4 http://teaching.profcouch.us/spring2011/mut12200_individualexamdemonstration2.mp4. 6. Additional singing: Review singing all intervals, root position chords, and scales. TURN IN MacGamut scores via email to ProfCouch@gmail.com by 6AM on Thursday. (You will have done Intervals #1 4, Scales #1 2, Chords #1 3, Rhythms #1 2, and Melodic #1 2, OR a minimum of 60 minutes since the last submission of MacGamut scores in each skill category.) Berkowitz: pp. 151 52 link is here: http://teaching.profcouch.us/musicianshipresources/berkowitzvariations4e_musicianshipi.pdf. Intervals #5 involves harmonic intervals. Page 12 of 27

Week 7: Fundamentals and Triads (continued) Goals: 1. Recognize and sing triads in root position and first inversion do this in class! 2. Recognize chords outlines in sight-singing exercises. 3. Perform dots and ties in any simple meter. In Class: 1. Practice for midterm, including alto clef. 2. Tuesday quiz over Shumway CH4. 3. Show Shumway, CH5, melody harmonization. 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 10/7, [10/9]: 1. Berkowitz: Practice pp. 213 14 #26, 29 30; same variations as last time; pp. 348 49 #15 20. 2. Hall: Practice Chapter 4. 3. MacGamut: Do Intervals #5 and Melodies #3. Try to attain mastery! 5. Prepare for your musicianship midterms during week 8 (next week). 6. Shumway: Practice Projects 5 (all) in continuo style, as usual. 7. Optional: Musica Practica and MacGamut drills to concentrate and achieve mastery on any weak areas. Remember that MacGamut scores are due next week on Thursday, along with musicianship midterms. No class on Thursday, due to Fall Break. Page 13 of 27

Week 8: Midterms on 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 harmonies by Roman numeral (Harmonic Dictation Patterns handout). Assignment for 10/14, 10/16: 1. Hall: Practice Chapter 4. 2. Berkowitz: Practice previous assignments. 3. MacGamut: Do Intervals #6. 4. Keyboard exercises: Practice previous assignments. 5. Shumway: Practice Project 6 in continuo style, as usual. Test: 1. Individual Musicianship Midterm (ten minutes to be scheduled in my office). a. Singing root-position M, m, +, and o triads from one given bass note. (See first group on Chord Singing Handout.) b. Performance of one prepared alto-clef melody from Berkowitz, pp. 15 16 #51 57. Old edition pp. 8 9, #37 43. c. Performance of one melody randomly selected from previous Berkowitz assignments. d. Performance of a rhythm randomly selected from previous Hall assignments. [Can be one- or two-part or an improvisation, but not three-part. In two-part, you will play the bottom line on the piano while saying the rhythms of the upper line.] e. A randomly-selected figured-bass exercise from Shumway, CH6, pp. 27 28 #1, 4, 5, or 6. 2. Ear-training Midterm (Thurs.). a. Scale identification (major, natural minor, melodic minor, and harmonic minor). b. Interval identification (melodic up & down and harmonic). c. Triads 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). TURN IN MacGamut scores via email to ProfCouch@gmail.com by 6AM on Thursday. (You will have done Intervals #1 6, Scales #1 2, Chords #1 3, Rhythms #1 2, and Melodic #1 3, OR a minimum of 60 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 27

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 27

Week 9: Triads and Harmonic Function Goals: 1. Recognize chordal outlines with Roman numerals in both major and minor keys. 2. Harmonic minor scales on the keyboard. 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, harmonies can be I, IV, or V in root- or 1 st -inversion. e. part-write inner voices with theory knowledge. Inner voices not graded on this level. (Note that there are notes on MG harmonic dictation on the website for you.) 2. Implicit harmonies by scale step in the bass: 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 (See the harmonic dictation hints and harmonic dictation patterns handouts on website) 3. Possible progressions in MG level 1: I-V, I-V 6, I-IV, I-IV 6, I-I 6, etc., and reverse order. 4. Forward email entitled Harmonic Dictation on MacGamut from Anne Blombach, the programmer of MacGamut (dated 11/10/2003) and point out MG Harm Dict Notes on website. 5. Shumway: Projects 6 7 (5/3 with all root movements). 6. Outline various methods of doing ID of harmonic functions (Roman numerals): See the next page. 7. Placing the beat in a measure using conducting, rather than counting durations. 8. Aural analysis of opening of Sullivan s Ah! Love Me not to Pine Alone. A. Analysis Quiz (give on Thursday while doing in-class work). See Quiz X and Sample Quiz X on website. Do Sample analysis quiz on Tuesday. Assignment for 10/21, 10/23: 1. Berkowitz: Practice pp. 20 21 #74 83 (*** move these because 6/8 is covered next week ***); p. 213 #26, 29 30; p. 273 #22a,b, and #23a,b; p. 348 #15 20. [Old 4 th ed. Practice pp. 109 10 #20, 23, 24; p. 264 #15 20; pp. 13 14 #60 67; #80 82 are new melodies]???p. 147 #22a,b, 23a,b; p. 154 #32. 2. Hall: Practice Chapter 4 (continued). 3. MacGamut: Do Rhythm #3 and Harmonies #1. Use this week to catch up on any other MG skills that you haven t yet mastered. 4. Keyboard: Harmonic-minor scales on A, D, and E with one hand, one octave, up & down: a=54321321/12312345, d=54321321/1231234, e=54321321/12312345 5. Shumway: Practice Project 7 in continuo style, as usual. Page 16 of 27

6. Optional: Randall (on reserve): p. 34 #3, 5; p. 36 #14. [Remember that MacGamut scores are due next week on Thursday. If you haven t mastered Melodies #3 or other skills from last time, you ll need to put in 60 minutes on those skill categories by the next due date.] Page 17 of 27

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 27

Week 10: Introduction to Cadences and Keyboard Harmony Goals: 1. Identify standard cadences (PAC, IAC, plagal, deceptive, HC, and Phrygian HC). 2. Play authentic cadences in major keys. 3. Introduction to duple compound meters, e.g., 6/8 meter. In class: 1. Go through how to do keyboard I-IV-V-I. 2. Review MG Harmonic Dictation #1 from last week. 3. Introduce 6/8 meter. 4. 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. 89) 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. 5. Go through hearing seventh chords in root position. 6. Did an interval quiz on 10/28 to establish attendance & being on time; chord quiz on 10/30. Introduce Mantras: http://teaching.profcouch.us/musicianshipresources/ssmantras.pdf. A. Error-detection Quiz (give on Thursday). See Quiz XI and Sample Quiz XI on website. Do sample ED quiz on Tuesday. Assignment for 10/28, 10/30: 1.Berkowitz: Practice p. 212 #22; p. 214 #13; p. 273 #22a,b, and #23a,b; p. 349 #21 25. [Old 4 th ed practice pp. 109 111 #17, 25; pp. 147 50 #27a,b, 29a,b; p. 265 #21 25.] 2. Hall: Practice Chapter 5, p. 27 and p. 29 #5.G, 5.H. (Remember to read p. 27. We will conduct 6/8 in two! And, we ll say 1 ta te 2 ta te.) 2. MacGamut: Do Intervals #7 and Chords #4 [7 th chords in root]. 3. Keyboard: a. Play g, c, and b harmonic-minor scales for one octave up & down with one hand. g=54321321/12312345, c=same as g, b=43214321/12312345 b. Play I-IV-V-I in C Major in continuo style and with correct voice-leading, starting with 1, 3, or 5 in the soprano. [See handout at http://teaching.profcouch.us/fall2011/keyboard_authenticcadences.pdf.] *WILL DO KEYBOARD IN CLASS THIS WEEK!* 4. Shumway: Practice Project 8 in continuo style, as usual. 5. Optional: Practica Musica or Listen on any weak musicianship skills. TURN IN MacGamut scores via email to ProfCouch@gmail.com by 6AM on Thursday. (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 60 minutes since the last checkup in each skill category. Page 19 of 27

Remember to put in 60 minutes on Melodies, if didn t pass that level on the last checkup.) Note: Remind students about two more submissions after this before everything is due in Dec.! Page 20 of 27

Week 11: Keyboard Skills (continued) Goals: 1. Learn to sing and conduct duple compound meters. 2. Play authentic cadences in minor keys. 3. Strengthen your keyboard skills. In class: 0. Did ET quiz on easy intervals to establish attendance. 1. Quiz 11/5 on Shumway CH8 (6/3). 2. Go through playing 6/4 chords (Shumway CH9). 3. Aural analysis of opening of Sullivan s No Possible Doubt Whatever. Assignment for 11/4, 11/6: 1. Berkowitz: Practice pp. 23 24 #92 101 (play chords beneath with LH); pp. 152 53 #31 (in 4 th ed only); p. 215 #32, 34. [Old 4 th ed pp. 15 16 #73 80; pp. 152 53 #31 all; pp. 111 #26, 27. There are some differences between solo melodies in the two editions.] [See link for variations Berkowitz P&S Variation Exercises I (from 4 th ed) on website.] 2. Hall: Practice Chapter 5 (continued). 3. MacGamut: Do Intervals #8 and Harmonies #2. Keep on working on any other ear-training you haven t mastered! 4. Keyboard: a. Play i-iv-v # -i in C minor, starting with 1, 3, or 5 in the soprano. b. Review your scales (one hand, one octave, up & down) from earlier in the semester: C, F, G, Bb, D, A, Eb, a, d, e, g, c, b. (SLOW!) 6. Shumway: Do Project 9 (6/4) in continuo style, as usual. See http://teaching.profcouch.us/spring2011/mut12200_individualexamdemonstration5.mp4 Remember that MacGamut scores are due next week on Thursday. Omitted from assignment in 2008: 8. Start work on transcription project. Page 21 of 27

Week 12: 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. In class: 1. Tuesday 11/11 SS quiz over any of the week 12 melodies, including P&S. Thursday 11/13 ET quiz with chords & intervals (RN on blanks was ungraded). 2. Review chord inversions. 3. Teach seventh chord qualities in root position. 4. Reviewed doing Roman numerals by ear without doing dictation. 5. Go over keyboard progressions in preparation for final. 6. Did dictation with Lo, How a Rose UMC p. 216, and Away in the Manger, UMC p. 217. Assignment for 11/11, 11/13: 1. Berkowitz: Practice pp. 26 27 #103 14 (on all play the chords beneath with your LH); pp. 276 77 #30 (new to 5 th ed). [Old edition pp. 17 18 #82 93; p. 142 #1 5 (removed because too easy); There are some differences between solo melodies in the two editions.] 2. Hall: Practice Chapter 6. 3. MacGamut: Do Rhythms #4 and Harmonies #3. 4. Keyboard: Play I-IV-V 6/4-5/3 -I in CM and cm, starting with 1, 3, or 5 in soprano. (See Authentic Cadences Handout on website.) 5. Shumway: Practice Project 10 (vii o6 ) in continuo style, as usual. 6. Optional: Do Chord Function Aural Training on Pratica Musica or Listen. TURN IN MacGamut scores via email to ProfCouch@gmail.com by 6AM on Thursday. (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 60 mins since the last checkup in each skill category.) Omitted from assignments 2011: 7. Start work on transcription project. Page 22 of 27

Week 13: Keyboard Skills (continued) Goal: 1. Learn the dotted-eighth&sixteenth rhythm. 2. Recognize aurally and sing tritones. 3. Play authentic cadences with another predominant chord. 4. Start aural recognition of I, IV, and V chords. In class: 1. Go through all the dotted-eighth and the Lombard rhythms. 2. Thursday quiz over duets p. 111 112 #28 30. 3. Go over melody harmonization in Shumway in preparation for final. 4. Assignment for 11/18, 11/20: 1. Berkowitz: Practice pp. 30 32 #128 41; pp. 215 16 #35 38; p. 279 #34 (in 5ed only). [Old 4 th ed pp. 22 23 #113 123; pp. 111 112 #28 30; p. 143 #6,8 (deleted because too easy at this point in the semester).] 2. Hall: Practice Chapter 7. 3. MacGamut: Do Intervals #9 and Chords #5. (This is nearly the last new ET assignment for the semester!) 4. Play I-ii 6 -V-I in C Major and c minor, starting with 1, 3, or 5 in the soprano. (See Keyboard Handout given in class a month ago. It s also on the course webpage.) 5. Shumway: Practice Project 11 (ii chord) in continuo style, as usual. 6. Additional singing: Sing tritones and their resolutions between classes. 7. Optional: Optional Rhythms: Randall (on reserve): p. 39 #5; p. 40 #8, 11; if you are really good, p. 41 #14. Remember that MacGamut scores are due by Thursday next week. Start pushing for mastery of all ear training now!!! Mastery required by the end of the semester! Omitted from Assignment in 2011: 9. Finish up transcription project. Page 23 of 27

Week 14: 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. Assignment for 11/25, [11/27]: 1. Berkowitz: Review all previous assignments and pp. 154 55 #32 all (in 4ed only). [See the link for the P&S in old edition, pp. 154 55, see website.] 2. Hall: Practice Chapter 7, and review all previous assignments. 3. MacGamut: Do Intervals #10 and Rhythms #5. Strive at mastery in all assigned MG levels in every skill category! 4. Keyboard: Review your scales and progressions assigned over the semester, especially I-IV-V-I, I-ii 6 -V-I, and I-IV-V 6/4-5/3 -I at the keyboard in CM, cm, DM, or dm. [Remember that these must be played at the keyboard without reference to anything written.] 5. Shumway: Practice Project 14 in continuo style, as usual. TURN IN MacGamut scores via email to ProfCouch@gmail.com before 6AM on Thursday. (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 60 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! Thanksgiving break. Omitted from 2011 assignment: 7. Transcription Project due this week at 8:30AM Thursday, 11/30!!! Page 24 of 27

Week 15: Musicianship Exams Goals: 1. Review for musicianship tests. Tests: 1. Individual Exam #2 by appointment. Assignment for 12/2: 1. Berkowitz: Review all previous assignments. 2. Hall: Review all previous assignments. 3. MacGamut: Attain mastery in everything assigned over the semester! 4. Keyboard: Review your scales and progressions assigned over the semester. 5. Shumway: Practice Project 14 in continuo style, as usual. Remember that the MG Final submission graded solely on mastery is due in a week. TURN IN your final MacGamut Scores to ProfCouch@gmail.com by ET Final! 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. Page 25 of 27

Description of Musicianship Finals (Tentative) 1. Individual Musicianship Final Exam (individually scheduled in office for ten minutes). 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. 18 28: #65, 79, 89, 90, 111, and 118. [Old edition: Berkowitz, pp. 12 20: #55, 64, 70, 71, 91, or 102.] c. Sight-sing a treble- or bass-clef melody randomly selected from any Berkowitz assignment assigned after musicianship midterms (week 9 and onwards). This includes single lines from solo melodies and those in duets. d. Perform a single-line rhythm randomly selected from after midterms (Hall, Chapters 5 7) with syllables. This includes the improvisations at ends of chapters, but with words. e. Perform a randomly-selected cadential pattern from I-IV-V-I, I-ii 6 -V-I, or I-IV-V 6/4-5/3 -I in continuo style at the keyboard in CM, cm, DM, or dm (without any voice-leading errors and without any visual aids) with a requested starting soprano note (1^, 3^, 5^). f. Perform a keyboard-harmony exercise randomly selected from Shumway, Project 14, fig. bass on p. 71 #5, or soprano-melody harmonization on p. 71#5. 2. Ear-training Final (during allotted final-exam time listed in syllabus). 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 due before ET Final. File: Fall2014_MUS153_MusicianshipAssignments.wpd Revised 11/4/14 Page 26 of 27 1998 2014 Leon W. Couch III

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) Conduct and sing one part of the duets with solfege, while the instructors plays the other part. Once you have started, the instructor will play through without stopping or slowing. (e) Call out the Roman numerals while you play the keyboard exercises, and (f) Count out the beat before you perform the requested play-and-sing exercise at the piano. The vocal part will be sung with solfège and the keyboard part will be at the piano. File: Fall2014_MUS153_MusicianshipAssignments.wpd Revised 11/4/14 Page 27 of 27 1998 2014 Leon W. Couch III