Mut101 Syllabus

Transcript

Music Fundamentals and Technology MUS110 Assignments Fall 2012 Tentative Schedule Week Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10 Week 11 Week 12 Week 13 Week 14 Week 15 Week 16 Dates Fundamentals Topics Tech Topic Pitch notation Music-notation software Rhythm and meter MIDI, basic Acoustics Scales MIDI arranging, digital Audio Midterm Recording techniques Intervals Audio editing, recording proj. Audio synthesis, recording proj 10/29 10/31 11/2 Chords Sound design, recording DUE 11/5 11/7 11/9 Seventh chords 11/12 11/14 11/16 Harmony 11/19 11/21 11/23 Songwriting project Electronic-music composition 11/26 11/28 11/30 Cadences 12/3 12/5 12/7 Review and project Review and project 12/10 12/12 Perform project Composition due 12/18 Final Exam & Final MG due 9/7 9/10 9/12 9/14 9/17 9/19 9/21 9/24 9/26 9/28 10/1 10/3 10/5 10/8 10/10 10/12 10/15 10/17 10/19 10/22 10/24 10/26 Page 1 of 42 Summary of Fundamentals Assignments (tentative) Week Strauss text Written Scales Written Intervals Written Chords 1 1–2 2 3–5 3 6–11 4 12–13 5 15–17 1 6 18–20 2–4 7 21–22 1–2 8 23–26 3–5 9 27–29 6–12 1–3 10 30–31 13–17 4–6 11 32–33 18–20 7–9 12 33–34 10–12 13 35 13–15 Aural Scales Aural Intervals Aural Chords Due Date 1–2 14 10/17 1 1 10/27 2 11/12 3 11/26 16–18 4 15 12/10 finals finals 1–35 (all) 1–4 (all) 1–20 (all) 1–18 (all) Page 2 of 42 1–2 (M&m) 1–3 (basic) 1 (root) CHAPTER 1: PITCH Week 1 Pitch, pitch notation, staves, clefs, and fixed-do solfège Friday 9/7 In class: 0. Get list of students who want to buy headphones through me. A. Syllabus 1. Fundamentals may seem slow, but remember that we are building facility and not merely acquiring knowledge. 2. Daily work required on fundamentals. B. Straus, Lesson 1 (Staff notation) and MySearchLab. C. Straus, Lesson 2 (Keyboard). D. Solfège and the Good-ear.com exercises with scale-degree function. E. MacGamut and how to turn in MGS files (basic technology: How to send an attachment). F. Music notation (Finale). Go to computer lab. Homework Assignment #1: Due Monday 9/10 A. Do Straus, pp. 3–5 all, pp. 11–12 all. Turn in on Monday, both in paper and electronic versions. (I.e., use MySearchLab and Finale, and send the files to me). B. Do MacGamut: Register the software, get your mgs file, send the mgs file as an attachment to the instructor on Sunday by 5PM. C. Go into music computer lab and try out Finale on your own. You may wish to start the Finale portion of the next assignment. D. Practice finding notes on the piano with software drill: 1. Optional: Do http://musictheory.net/ exercise on “keyboard note identification”. 2. Do http://musictheory.net/ “keyboard reverse identification” with treble and bass clefs. Page 3 of 42 Week 2 Music-notation software and clefs Monday 9/10 In class: A. Straus, Lesson 3 (Treble clef), including how to do homework on Finale (MySearchLab). B. Straus, Lesson 4 (Bass clef). C. How to play the homework excerpts on the piano. D. MusicTheory.net pitch ID. E. Practice solfege and use it for dictation of Joplin’s Entertainer (in textbook). F. Music notation (Finale): Setting a hymn, transposing it, beaming, putting on lyrics and slurs, adding textblocks, and transposition. Can do this in the computer lab. Homework Assignment #2a: Due Wednesday 9/12 A. Do Straus, pp. 17–22 all, pp. 25–29 all, on Finale (MySearchLab). Send Finale files via email and print them out. B. Be able to play Mozart “Dove sono”, mm. 1–8 (Straus, p. 20), with your RH on the piano; and, play Mozart, Piano Sonata, mm. 1–3 (Straus, p. 27), with your LH on the piano. C. Do note identification for 10 min/day: 1. Do “grand staff keyboard” on http://www.sonicfit.com/. 2. Do “note identification” on http://musictheory.net with treble and bass clefs. 3. Do “letter names” on http://www.sonicfit.com/ in bass and treble clef. D. Optional: Download and install Audacity on your laptop (see webpages for link). Page 4 of 42 Homework Assignment #2b: Due Friday 9/14 A. Make a piano score, transpose it, use it as an image, change the lyrics. Suppose your photocopy of the beloved hymn “The Lord is My Shepherd” looks too crappy for a church bulletin, and you wish to enter the music into Finale. Plus, you’re going to have to play it up a whole step to match an oboe descant you found. Worse, the minister tells you that he wishes to use alternate lyrics to better fit his sermon. http://Teaching.ProfCouch.us/Spring2012/HymnsForFinaleNotation.pdf (link also on website) 1. You will make an exact copy of the hymn “The Lord is My Shepherd, I’ll not Want,” mm. 1–4 (the first phrase of text), in Finale. Notice the pick-up measure, the non-standard beaming of the parts, the slur, the accidental, lyrics & verses, note values, the hymn number and title, etc. 2. Save this Finale file of the hymn (in FM) as “[Your last name]_Crimond_Shepherd_FM.mus”. 3. Transpose the hymn up a whole step—put it in GM—by using the key signature tool. And, fix anything that looks funny. 4. Save this Finale file of the hymn (in GM) as “[Your last name]_Crimond_Shepherd_GM.mus”. 5. Make a single-line version of this same tune for the congregation with a different text in a new Finale file. This will only have the tune (the soprano part) for the congregation. a. Enter the tune alone. b. Replace the lyrics with the first phrase of words of Amazing Grace, written by John Newton. This is what the minister wants to use. c. Fix any slurs over melismas and so forth. 6. Save this Finale file of the hymn (in GM) as “[Your last name]_Crimond_Amazing_GM.mus” 7. Export an image of the hymn from Finale and place it in a MS Word document for the secretary. Put the proper information in the MS Word document for the secretary, such as the tune name, the title (words), composer, and author. 8. Save your tune in a file entitled “[Your last name]_Crimond_Amazing_GM_tune.docx”. 9. Notice how the melody works with the new words (or not). Have some sort of reaction to it. Think what you will say (or not say) to the minister during your worship committee meeting. 10. Send all the above files as attachments in one email to [email protected] . [If you would like to see how this will look, look at the opposite side of the PDF page.] Remember to put your name in the documents and in the file names. All files your files should look professional. * Bring your laptops to class on Friday * Page 5 of 42 Wednesday 9/12 In class: A. Straus, Lesson 5 (Great staff). B. How to practice the 2v part homework excerpt on the piano. C. Straus, Ch. 1 Supplementary Lesson (moveable-C clefs, double sharps, etc.). D. Basic technology. 1. Uses PDF to comment on a document. 2. Using Naxos on-line recordings for homework assignment. Can do this in the computer lab. Homework Assignment #3: Due Friday 9/14 A. Do Straus, pp. 35–39 all. B. Be able to play Mendelssohn, Piano Trio, mm. 1–2, on the piano with both hands. C. Write the letter names of the viola and cello parts in mm.17–29 of “Adagio molto e mesto” (III) of Beethoven’s String Quartet No. 7 in F Major, Op. 59, No. 1. Use the typewriter tool in Adobe Acrobat and turn in your answers as a PDF via email. [ http://Teaching.ProfCouch.us/TheoryHandouts/Beethoven_Op59No1III-score_p1.pdf (links also on website)] Listen to the music with a score by using the link on the websites. Note: Remember that there are flats in the key signature, when you’re naming the pitches. D. Do note identification for 10 min/day: 1. Do “grand staff keyboard” on http://www.sonicfit.com/. 2. Do “note identification” on http://musictheory.net with treble, bass, alto, and tenor clefs. 3. Do “letter names” on http://www.sonicfit.com/ in bass and treble clef. 4. Do “keyboard reverse identification” on http://musictheory.net with treble, bass, alto, and tenor clefs. Page 6 of 42 Friday 9/14 In class: A. Review of Straus, Chapter 1. (Quiz on Monday). B. Transposition with clefs. C. Reading scores with transposing instruments, esp. horn, clarinet, and trumpet. [Note that “B” in German scores means “Bb”. The letter “H” means “B-natural”.] D. Reading full scores, string quartet, choral, band, orchestral, etc. [Note that pick-up measures and pick-ups are not counted when locating items in a score, but are included in what is played.] E. Playing from full scores on the piano, like the homework. F. Basic acoustics (see Lecture Notes handout), using Audacity and/or SoundForge. Homework Assignment #4: Due Monday 9/17 A. Do Straus, pp. 45–48 (review). B. Identify all the pitches with letter names, Bach “Herr, wie du will’t”, BWV156/6, mm. 1–5. Turn in PDF. [http://Teaching.ProfCouch.us/TheoryHandouts/Bach_HerrWieDuWillt.pdf .] C. Be able to play every vocal line of Bach, mm. 1–5, separately from a clean score on the piano in class. (You could play along with the recording cited on the website to check yourself.) D. Identify all the pitches in the Bb clarinet and F horn parts of Mahler’s “Nun will die Sonn’ so hell aufgeh’n”, mm. 16–20. Remember to pay attention to the key signature. [http://Teaching.ProfCouch.us/TheoryHandouts/Mahler_NunWillDieSonn.pdf .] (You do not need to do the bass clarinet.) E. Be able to play the clarinet and horn parts at concert pitch separately on the piano. (You can check by playing along with the recording cited on the website.) F. Do note identification for 10 min/day: 1. Do “grand staff keyboard” on http://www.sonicfit.com/. 2. Do “note identification” on http://musictheory.net with treble, bass, alto, and tenor clefs. 3. Do “letter names” on http://www.sonicfit.com/ in bass and treble clef. 4. Do “keyboard reverse identification” on http://musictheory.net with reble, bass, alto, and tenor clefs. You may wish to start the next technology assignment now. Page 7 of 42 CHAPTER 2: RHYTHM AND METER Week 3 Simple meters, Music notation software Monday 9/17 In class: A. Quiz over Chapter 1 and quiz playing at the keyboard. B. Straus, Lesson 6 (4/4 and the beat). Count “1 2 3 4”. Hold through on the same vowel if the note is more than a beat long. Feel the meter with its strong and weak beats. C. Straus, Lesson 7 (4/4 and subdivisions). Count “1 + 2 + 3 + 4 +”. Notation different than book: Beam eighths in groups of two, not in four. Discuss this in terms of homework and Finale. Note: Word accents with strong beats. Don’t emphasize “and”, “is”, etc. D. Music notation software (Finale) and MIDI (see lecture notes online). E. Arranging scores with transposing instruments, esp. horn, clarinet, and trumpet. [Note that “B” in German scores means “Bb”. The letter “H” means “B-natural”.] See examples from Chopin, Op. 28, No. 6, at http://teaching.profcouch.us/Fall2012/Fall2012_MUS110.html#Notation . Homework Assignment #5a: Due Wednesday 9/19 A. Do Straus, CH6–7, pp. 55–58, 65–67, and be able to perform all with rhythm syllables (“1 + 2 +”) and conducting. B. Compose melodies to your rhythms on p. 67, one in treble clef and one in bass clef. Use only white keys. Enter your compositions into Finale and send them via email. C. Be able to perform your melodies by playing them at the piano as well as singing them with conducting. You should also be able to solfège and say letter names to your melodies. D. Do http://musictheory.net/ , http://www.sonicfit.com/ , and http://www.good-ear.com/ on pitch, letter names, clefs, and keyboard, as needed. Note: Read the directions in the book. When it says “Write only whole, half, and quarter notes”, don’t write eighth notes! When it instructs you about setting text, read it: Put accented syllables on strong beats, as is 6-4. Note: Beam eighths according to the beat. This means that you will beam in groups of two eighth notes. To change this in Finale, go to Document->Document Option->Beams and deselect “Beam four eighth notes together in common time”. Page 8 of 42 Assignment #5b: Due Friday 9/21 A. Make an arrangement of any phrase of any piano music you wish in Finale for a small ensemble you have at church or school. E.g., turn a Chopin piano prelude into a wind quintet piece. (Pick something you can do fairly easily.) 1. Find some musical excerpt you want to arrange for an ensemble. 2. Use the “wizard” to get the instrumentation you want, but you must have at least three instruments of which at least one instrument must be transposing. 3. Enter the notes. 4. Put dynamics into the score, including dynamic changes and a crescendo or decrescendo. 5. Put in some diacritical marks you see, e.g., “staccato” marks. 6. Put a ritardando and a fermata in at the end. 7. If necessary, change the MIDI instruments from the standard (piano) sound, and get the appropriate sounds for each part; e.g., a trumpet sound for the trumpet line. 8. Listen to the score to check things, by pressing the play button in Finale. Adjust the playback tempo as needed. 9. Produce and print a concert-C score for a conductor who hasn’t taken a scorereading course. 10. Produce and print a score for a conductor who can read transposing instruments. 11. Produce and print parts for your instrumentalists. The transposing instruments will have different key signatures than those for the C-instruments. (Confusing, I know!) Turn these pages for homework. 12. Save all those files in one place, and send them all together in one email. Entitle your files something logical and with your name included! Note: Save your files in a safe place, because we will use your arrangement in future assignments. B. Make sound files. (SKIP) 1. Edit the performance in Finale until it sounds really convincing and natural. Remember to save your Finale file, of course. 2. Create a MIDI file. 3. Output your music as a sound file (WAV). 4. Compress the audio into a MP3 of reasonable size for the web and email. 5. Make a basic video with your original sound file (don’t use the MP3!). 6. Output your video as a MP4 or another common video format. 7. Upload your video to YouTube, using a private link. 8. Send the instructor a link to your video and attach the MID and MP3 files to the email. Note: You should take note of the advantages and disadvantages of these different methods of communicating your music. If you can’t find or think of a score to arrange, you might arrange the following: 1. Victoria’s “Kyrie” , mm. 1–12, for brass quartet. a. Put soprano part on Bb trumpet. b. Put alto part on F horn. c. Put tenor part on trombone (it’s a C instrument). d. Put bass part on tuba (it’s a C instrument). 2. Schubert’s “Ungeduld” from Die schöne Müllerin, D. 795/7, mm. 9–12, including the pick-up to m. 9, for woodwind quartet. a. Replace the voice part with a Bb clarinet. b. Replace the right-hand of the piano with two F horns. c. Put the bassline (left-hand of piano) on bassoon (it’s a C instrument). The scores to these can be found with links on our course webpage: http://teaching.profcouch.us/Fall2012/Fall2012_MUS110.html#Notation . Page 9 of 42 Wednesday 9/19 In class: A. Straus, Lesson 8 (4/4, dots, and ties). Hold last syllable through dot or tie. B. Straus, Lesson 9 (4/4, rests, and syncopations). Do not count in rests. Stomp foot on beat with syncopations. C. Finale & orchestration: Arrange Chopin, Prelude in bm, Op. 28/6, with Clarinet on top, 2 flutes in middle, and bassoon as the bass. D. Quick lesson on text setting and composition to prep for homework: (1) match strong syllables to strong beats, (2) don’t put syllables on really small note values, (3) check that you can actually perform it. E. If time permits (it didn’t), lecture on MIDI (see Lecture Notes). Homework Assignment #6: Due Friday 9/21 A. Do Straus, CH8–9, pp. 75–77, 85–87, and be able to perform all rhythms with syllables (“1 e & a”) and conducting. B. Compose melodies to two of your rhythms, one in tenor clef from p. 77and one in alto clef from p. 87. Use only white keys. Enter your compositions into Finale and send them via email. C. Be able to perform your melodies by playing them at the piano as well as singing them with conducting. You should also be able to solfège and say letter names to your melodies. D. Do http://musictheory.net/ , http://www.sonicfit.com/ , and http://www.good-ear.com/ on pitch, letter names, and keyboard, as needed. Friday 9/21 In class: A. Straus, Lesson 10 (Duple meter). Count “1 2” and “1 + 2 +”. B. Straus, Lesson 11 (Triple meter). Count “1 2 3” and “1 + 2 + 3 +”. C. Introduction to MIDI. D. Practice score reading with Bach’s “Vom Himmel hoch, da komm’ ich her” and Babbitt’s “The Widow’s Lament in Springtime”. Homework Assignment #7: Due Monday 9/24 A. Do Straus, CH10–11, pp. 93–95, 103–104, and be able to perform all rhythms with syllables (“1 + 2 +”) and conducting. B. Compose melodies to your rhythms on p. 104 section 11-4, one in treble clef and one in alto clef. Send them via email. C. Be able to perform your melodies. D. Do http://musictheory.net/ , http://www.sonicfit.com/ , and http://www.good-ear.com/ on pitch, letter names, and keyboard, as needed. Page 10 of 42 Week 4 MIDI, compound meter, basic acoustics Monday 9/24 In class: A. Straus, Lesson 12 (6/8). Count “1 2” and “1 tah teh 2 tah teh”. Do not count in six. B. Go through how to do word accentuation that was in the compositions to poems in CH6–7 and CH8–9. Don’t emphasize “is”, “and”, and other weak words. End on long note on a strong beat, etc. C. Posting music on the web. 1. Outputting MIDI file. 2. Outputting WAV from Finale and converting to MP3, using http://media.io . 3. Making WMV with Windows Live Music Maker or using professional software to make MP4. 4. Uploading videos to YouTube. D. MIDI scores: MIDI editor, changing notes, changing tempo, copy and pasting, changing instruments, automation. 1. Transposing instruments, editing MIDI instrumentation, and exporting MIDI on Finale. (Save in multiple tracks.) 2. Importing MIDI into a multi-track editor, such as Acid (I just downloaded the trial version) or Band in a Box (in Mac labs). Many programs do the same thing with basically the similar layouts and commands. 3. Editing MIDI tracks. Changing, deleting, and adding notes. Changing the tempo/tempi. Show quantization and changing rhythms, such as “swinging” eighths. Changing the sounds. Making envelopes for volume (dynamics), panning, damper pedal, pitch bend, and other effects. Making convincing arrangements, by careful use of the above, such as for film scoring. Composing a pitch-based musical work, using MIDI “instruments” (software sounds). Outputting the sounds to an audio file. We will talk more about audio formats later. Homework Assignment #8a: Due Wednesday 9/26 A. Do Straus, CH12, pp. 109–10, and be able to perform all rhythms with syllables (“1 ta te”) and conducting. B. Compose melodies to your rhythms on p. 110 section 12-4, one in tenor clef and one in bass clef. Send them via email. C. Be able to perform your melodies above at the piano. D. Do http://musictheory.net/ , http://www.sonicfit.com/ , and http://www.good-ear.com/ on pitch, letter names, and keyboard, as needed. Page 11 of 42 Assignment #8b: Due Friday 9/28 A. Make sound files. 1. Edit the performance of your arrangement from Assign #5b until it sounds really convincing and natural. Remember to save your Finale file, of course. 2. Create a MIDI file. 3. Output your music as a sound file (WAV). 4. Compress the audio into a MP3 of reasonable size for the web and email. 5. Make a basic video with your original sound file (don’t use the MP3!). 6. Output your video as a MP4, WMV, or another common video format. 7. Upload your video to YouTube, using an “unlisted link”. 8. Send the instructor a link to your video and attach the MID and MP3 files to the email. Note: You should take note of the advantages and disadvantages of these different methods of delivering your music. Page 12 of 42 Wednesday 9/26 In class: A. Straus, Supplementary Lesson (9/8, 12/8). Count “1 2 3" and “1 tah teh 2 tah teh 3 tah teh”, and count “1 2 3 4” and “1 tah teh 2 tah teh 3 tah the 4 tah teh”. B. Straus, Lesson 13 (Syncopation). Emphasize the beat to get the offbeat, rather than subdividing. C. Basic sound and acoustics (see lecture notes online). Homework Assignment #9: Due Friday 9/28 A. Do Straus, CH13, pp. 115–16, and be able to perform all rhythms with syllables and conducting. B. Compose melodies to your rhythms, one in treble clef on p. 116 and an original one in bass clef using 9/8 meter. Send them via email. C. Be able to perform your melodies above on the piano. D. Do http://musictheory.net/ , http://www.sonicfit.com/ , and http://www.good-ear.com/ on pitch, letter names, and keyboard, as needed. Friday 9/28 In class: A. Review of Straus, Chapter 2. (Quiz on Monday) B. Straus, Supplementary Lesson (smaller subdivisions). Count “1 ee + a 2 ee + ah” in 2/4 and “1 + ta + te + 2 + ta + te +” in 6/8. C. Straus, Lesson 14 (CM scale). D. Basic sound and acoustics (see lecture notes online). Homework Assignment #10: Due Monday 10/1 A. Do Straus, review and CH14, pp. 119–20 and pp. 129–31. B. Be able to play Joplin’s “The Entertainer”, mm. 1–3 (p. 130) at a slow speed on the piano. C. Read Straus, Lesson 15, and start the homework for next time (it’s a big one). D. Do http://musictheory.net/ , http://www.sonicfit.com/ , and http://www.good-ear.com/ on pitch, letter names, and keyboard, as needed. Page 13 of 42 CHAPTER 3: MAJOR AND MINOR SCALES Week 5 Digital Audio Monday 10/1 In class: A. Quiz, Chapter 2. B. Straus, Lesson 15 (Major scales other than CM). Spelling scales, determining the scale used in a passage, and transposition. C. Practice identifying major scales in a variety of key signatures that are different than the scale. D. Show the fingering for major scales on the piano, using the fingerings in Straus, p. 143. E. Talk about MacGamut written scale drills. F. Introduce (briefly!) basic concepts: waves, waveforms, dB, FFT (see lecture notes on web), noise, AM, FM. Demonstrate with Audacity or SoundForge or Spear (see links on the web). G. Introduce MIDI sequencing with Acid. Homework Assignment #11a: Due Wednesday 10/3 A. Do Straus, CH15, pp. 145–53. This is a BIG assignment. B. Be able to play the scales in Straus, p. 143, at the piano. C. Work on scale degrees for 10 min/day: 1. Do http://www.sonicfit.com/ “Scale Degree”. 2. Do http://www.good-ear.com/ “note location”. D. Do MacGamut written scale drills level 1. You will not turn your MacGamut file in yet. [Remember to always hear the scale after you’ve answered each exercise.] Assignment #11b: Due Friday 9/28 B. Do some basic editing in multi-track sequencing software of your choice. (See MIDI editors listed on the website. Remember how to “undo” if you make a mistake!) 1. Save your Finale full-score arrangement from last week as a MIDI file, with multiple tracks (one instrument to their own channel). 2. Import the MIDI file into sequencing software, such as Acid. (You can add MIDI tracks and bring in the files, or, more simply, you can just drag your MIDI file into Acid.) 3. Delete a few notes and replace them with pitches which are very noticeable, e.g., wrong notes. (You’re just showing me how you could edit a MIDI performance by a so-so accompanist you might have recorded to accompany you.) Make the notes different lengths. 4. Cut & paste some segment somewhere. (This could be used, for instance, to have the music return with different musical effects be added.) 5. Change the sound of at least one instrument to something new and interesting you like, e.g., marimba sounds better than MIDI trumpet, in your opinion. 6. Then insert at least two audio envelopes, such as volume, panning, damper pedal, or whatever you like. (You can do some with the insert menu in the top bar. Others, you will have to click around, usually on the faders in the RH lower corner and edit which are visible.) 7. Make envelopes with various shapes, e.g., a volume rising linearly which a quick drop off, or whatever. Remember, on Acid, you double click on the Page 14 of 42 appropriate colored line to get a box, which you drag to wherever you want it. You may wish to use automation, as it allows for more musical shapes that you could never do by hand with the boxes. B. Do some basic editing in multi-track sequencing software of your choice. (I used the trial version of Sony’s Acid in class. http://www.sonycreativesoftware.com/download/trials/acidpro And, remember how to “undo” if you make a mistake! You can use GarageBand in the mac labs.) 1. Using your Acid file, figure out automation. That is, recording continuous shapes on envelopes that you could never do by hand with the boxes. a. Click on the line of the envelope you wish to change, such as the volume. b. Press the automation and choose either “touch” or “latch”. c. Prepare the track you pick for recording by pressing the red “record” button on appropriate track. d. Start recording by pressing the”play” button in the controls (do not press “record”, as you will overwrite the musical notes). e. The piece will start playing, and you can wiggle around the input device (the mouse, the wheel on the keyboard, or whatever has been set up on your computer—I used the default on my computer, the touchpad). I just wiggled the pan button, because that was easy. f. You should see the shapes for the volume follow whatever you did. If you don’t like the effect, you can press “undo” or just record over the part you don’t like. g. Press “stop”. h. Mess around with the arrangement, by doing other envelopes or moving the boxes around, until it sounds as bizarre or convincing as you like. There are a lot of things you can do with relative ease that would be difficult, unaffordable, or impossible to achieve with real musicians. i. Change more envelopes on whichever track, as you wish, and then remember to unclick the automation to “read” when you’re done. h. Send me the score file (the Acid file) and the MIDI file, so that I can reproduce on my computer what you made. If you used another program, such as ProTools, then, you’ll need to bring by the resulting audio file for me to hear. Or, just bring by your laptop and play it for me (or us!). 2. Do beat mapping and change the tempo. a. Place measures and beats to the file. 3. Do looping and score it. a. Add a drum beat to the music and turn it into pop music. B. Start initial preparations for recording project. 0. Read the project description (later in the assignment sheets). 1. Find a partner with whom you will do your midterm project: You will be the recording engineer for her (when she performs), and she will be your recording engineer (when you’re performing). 2. Ask for the schedules of any necessary musicians (e.g., piano accompanists) and your partner. Find/make times when you all can rehearse together prior to the recording sessions. 3. Reserve sufficient time for week 7 in a performance space, such as the auditorium, the recital hall, or the ensemble rehearsal room, in which you will do the recording portion after fall break. Contact Dena in the music office to make the Page 15 of 42 reservation. (Remember that it’s best to record when it’s quiet outside—such as late at night or early in the morning.) 4. Reserve the recording equipment for the times you’re recording, either with the music area’s equipment and/or the Studio C equipment. Page 16 of 42 Wednesday 10/3 In class: A. Straus, Lesson 16 (Major key signatures). Memorizing the key signatures, identifying the key signatures of pieces of music. B. Digital Audio: Bit rates, sampling rates, Nyquist frequency, A/D, D/A (see lecture notes). C. Music Technology: Looping, automation (continuous envelopes). Homework Assignment #12: Due Friday10/5 A. Do Straus, CH16, pp. 163–69. B. Be able to slowly play the patterns in Straus, p. 162, on the piano in any key without hesitation. C. Drill your major key signatures for 20 min/day: 1. Do http://musictheory.net/ “Key signature identification” with major keys. 2. Do “key signatures” on http://www.sonicfit.com/ in bass and treble clef. 3. Anki from http://ankisrs.net/ and doing the key signature flashcards. D. Do MacGamut written scale drills, if you have not yet passed level 1. You will not turn MacGamut files in yet. Friday 10/5 In class: A. Major key signatures and scales continued. B. Straus, Lesson 17 (a natural-minor scale). Write b3, b6, b7, instead of 3, 6, 7, as the book instructs. C. Quiz, major keys and scales. D. Introduce musical perception, stereo image, Fletcher-Munson curves, etc. (see lecture notes on web). Demonstrate with software. E. Talk about recording projects. Homework Assignment #13: Due Monday 10/8 A. Do Straus, CH17, pp. 177–79. B. Continue practice of Straus, p. 162, on the piano; and, learn the fingering of am scale in Straus, p. 175. C. Start homework for lesson 18 (big). D. Drill your major key signatures for 20 min/day: 1. Do http://musictheory.net/ “Key signature identification” with major keys. 2. Do “key signatures” on http://www.sonicfit.com/ in bass and treble clef. 3. Anki from http://ankisrs.net/ and doing the key signature flashcards. E. Do MacGamut written scale drills, if you have not yet passed level 1. You will not turn your MG file in yet. Page 17 of 42 Week 6 Midterm & Recording Techniques Monday 10/8 In class: A. Straus, Lesson 18 (Natural-minor scales other than am). B. Practice identifying minor scales in a variety of key signatures that are different than the scale. C. Practice aural identification of major and minor scales, like MacGamut. D. Practice scale degrees of minor scales, singing and aurally identifying. E. Microphones and recording: Types of microphones, microphone arrays. F. Show how to use the laptop and the interface. G. Pass out recording project description. See website for the description. Homework Assignment #14a: Due Wednesday 10/10 A. Do Straus, CH18, pp. 191–201. B. Be able to slowly play the melodic-minor scales in Straus, p. 189, on the piano without hesitation. C. Drill your major key signatures for 20 min/day: 1. Do http://musictheory.net/ “Key signature identification” with major keys. 2. Do “key signatures” on http://www.sonicfit.com/ in bass and treble clef. 3. Anki from http://ankisrs.net/ and doing the key signature flashcards. D. Do MacGamut written scale drills level 2. You will not submit your MGS file yet. [Remember to always hear the scale after you’ve answered each exercise.] Homework Assignment #14b: Due Friday 10/12 A. Record you playing the same musical excerpt using different setups in preparation for the recording project. 1. Working in your pairs, check out the recording equipment for at least one hour, but you may need more time. 2. Figure out how to use the equipment by looking through the manuals and/or looking up the equipment on the internet. 3. Set up the equipment in some reasonably-sized space in which you can perform and try several arrangements of the stand and microphones. 4. Record yourself playing the same excerpt at 96kHz/24-bit in the several setups: Spaced omni x 3, X-Y x 3, ORTF x2, mid-side x 1. 5. Import your takes into your computer. You will want *.wav files, in the case you do any real editing later. 6. Burn the music files onto a data CD 44.1kHz/16-bit. 7. Be ready to play your recorded excerpts and discuss your experiences/conclusions on Friday in class. B. Preparing for the recording project. 1. Verify the reservations of equipment and recording spaces. 2. Verify the scheduling of practicing and recording with the performers and your partner. 3. Collect the scores of your pieces and provide them to your engineer (your partner). Think about how you will explain your vision of the recording session and your piece. 4. Receive the scores of your partner’s pieces and study them. You should be Page 18 of 42 ready to go and not waste your partner’s time during a recording session. Develop opinions about how you will run the session, how the pieces might be interpreted, how the pieces might be editing, etc. 5. Download some multitrack-editing software, such as Vegas, Audacity (free), or another shown on the course website. 6. Starting “playing” with the software now. 7. Read the project description. Page 19 of 42 Wednesday 10/10 In class: A. Straus, Lesson 19 (Minor key signatures). Notice b3, b6, b7 are in the key signature. Terms relative (same key signatures) & parallel (same tonic) minor/major. B. Prepare students for the homework, particularly the identification of key areas in scores. C. More microphone setups. Homework Assignment #15: Due Friday10/12 A. Do Straus, CH19, pp. 211–19. B. Continue your work on the melodic-minor scales in Straus, p. 189, at the piano; and be able to play the piano exercises in Straus, p. 209. C. Do http://musictheory.net/ 1. “Key signature identification” with minor keys for 20 min/day until you are fast! 2. “Scale ear-training” with major and minor scales, as needed. D. Do MacGamut written scale drills level 3–4. You will not yet submit your MGS file. [Remember to always hear the scale after you’ve answered each exercise.] Friday 10/12 In class: A. Go through homework, particular key identification. B. Straus, Lesson 20 (Harmonic and melodic minor scales). Use #7 for raised LT of minor, and #6 for raised pitch in melodic minor. C. Straus, Supplementary lesson (Church modes). Will merely mention this, but modes will not be tested. D. Remind students how to submit MacGamut files via email. E. Show students digital editing techniques: tracks, moving around audio, etc. (see lecture notes). F. Go through the recordings from Assign #14b, the different setups. Homework Assignment #16: Due Wednesday 10/17 A. Do Straus, CH20, pp. 223–26, 229–30 (review). B. Be able to play the piano exercises in Straus, p. 209, in any of the three minor scales. C. Do http://musictheory.net/ 1. “Key signature identification” with minor keys for 20 min/day until you are fast! 2. “Scale ear-training” with major and minor scales, as needed. D. Do MacGamut. 1. Scales aural drills, level 1–2 or 60 minutes. 2. Optionally, you can do higher written drills, which include spelling modal scales. [Remember to always hear the scale after you’ve answered each exercise.] E. Turn in MacGamut via email by 8AM on Wednesday! Your files should reflect your work up to this point: Written Scales 1–4 or 60 minutes total on Written Scales. Aural Scales 1–2 or 60 minutes total on Aural Scales. * MG DUE 10/17 before class * Page 20 of 42 CHAPTER 4: INTERVALS Week 7 Intervals, Audio editing, Recording project Monday 10/15 Fall break * MG DUE 10/17 before class * Wednesday 10/17 In class: A. Review minor scales and key signatures. B. Quiz on minor scales and key signatures. C. Straus, Lesson 21 (Interval size). 1. Very important: Interval size is determined by the number lines & spaces (letters) between the notes and not by the number of ½ steps. 2. Mark the direction, e.g., 28 or 39, on all melodic intervals. D. Show students how to edit audio in preparation for recording projects. Also, see the online help for Audacity: http://manual.audacityteam.org/o/ . Also show split/join tracks (mono<->stereo). E. Sing Porterfield sequentials (for homework) and pitch patterns (on website) in class. Homework Assignment #17a: Due Friday 10/19 A. Do Straus, CH21, pp. 235–37. B. Be able to play the piano exercises in Straus, p. 209, in any requested major or minor scale. C. Do http://musictheory.net/ 1. “Key signature identification” for 10 min/day until you are fast! 2. “Scale ear-training” with major and minor scales, as needed. D. Do “intervals” with the setting for interval size only on http://www.sonicfit.com/ in bass and treble clef for 10 min/day. E. Do MacGamut written interval drills level 1, and finish any previously assigned MG levels. You will not turn this in yet. F. Sing the sequentials with numbers and solfège from the Porterfield supplement, pp. 3–4 (download and print from website). Homework Assignment #17b: Due Friday 10/21 A. Work on recording project. Do the raw recordings this week and over the weekend. Page 21 of 42 Friday 10/19 In class: A. Straus, Lesson 22 (2nds and 3rds). 1. M interval if in the scale of the bottom note. m interval if narrowed by ½ step. o interval if narrowed by two ½ steps. + interval if widened by ½ step from the original scale. 2. Can figure out chromatic intervals by transposition. B. Recording project issues. C. Sing Porterfield sequentials and pitch patterns. Homework Assignment #18: Due Monday 10/22 A. Do Straus, CH22, pp. 245–49. B. Be able to play the piano exercises in Straus, p. 243, in any major or minor scale. C. Do http://musictheory.net/ 1. “Interval identification” with thirds and seconds for 10 min/day. 2. “Keyboard interval identification” with thirds and seconds for 10 min/day. 3. “Interval ear training”, as needed. D. Do “interval” with interval size on http://www.sonicfit.com/ in bass and treble clef, as needed. E. Do MacGamut written interval drills level 2, and finish any previously assigned MG levels. You will not turn this in yet. F. Sing the sequential patterns with numbers and solfège from the Porterfield supplement, pp. 13–14 (download and print from website). Page 22 of 42 Week 8 Monday 10/22 Audio synthesis, recording project In class: A. Straus, Lesson 23 (6ths and 7ths). Sample principle. Interval inversion. B. Audio synthesis: Additive and subtractive synthesis. (Delayed) Homework Assignment #19a: Due Wednesday 10/24 A. Do Straus, CH23, pp. 257–62. B. Do http://musictheory.net/ 1. “Interval identification” with sixths and sevenths for 10 min/day. 2. “Keyboard interval identification” with sixths and sevenths for 10 min/day. 3. “Interval ear training”, as needed. C. Do MacGamut written interval drills level 3 for 15 minutes, and finish any previously assigned MG levels. You will not turn this in yet. D. Sing sequentials from Porterfield supplement, pp. 39–41 (download and print from website) and sing pitch patterns. E. Be able to play the piano exercises in Straus, p. 255, in any major or minor scale. Homework Assignment #19b: Due Friday 10/26 A. Midterm project. 1. Edit your takes to produce your final recording. 2. Only if necessary, go back and re-record excerpts. B. Produce some timbres with additive and subtractive synthesis (omit this year). C. Produce some timbres using FM synthesis (omit this year). Page 23 of 42 Wednesday 10/24 In class: A. Straus, Lesson 24 (4ths and 5ths). Calculate from lower note’s scale. If widened, it becomes + interval. If narrowed, it becomes o interval (not m). B. Audio Synthesis: FM synthesis. (Delayed) C. Sing Porterfield sequentials and pitch patterns. Homework Assignment #20: Due Friday 10/26 A. Do Straus, CH24, pp. 269–73. B. Be able to play the piano exercises in Straus, p. 268, in any major or minor scale. C. Do http://musictheory.net/ 1. “Interval identification” with fourths and fifths for 10 min/day. 2. “Keyboard interval identification” with fourths and fifths for 10 min/day. 3. “Interval ear training”, as needed. D. Do MacGamut written interval drills level 4, and finish any previously assigned MG levels. You will not turn this in yet. E. Sing the scale-degree patterns with numbers and solfège from the Porterfield supplement, pp. 21–22 (download and print from website). Page 24 of 42 Friday 10/26 In class: A. Straus, Lesson 25 (Intervals in major keys). Consonance and dissonance. 1. Perfect consonances: P1, P8, P5, and sometimes P4. 2. Imperfect consonances: M3, m3, M6, m6 3. Dissonances: M2, m2, M7, m7, o int, + int, and sometimes P4. 4.o5->M3, +4->m6, i.e., 7->1, 4->3. B. Straus, Lesson 26 (Intervals in minor keys). Uses natural minor, but melodies usually use melodic minor and harmonies usually use harmonic minor. C. Straus, Supplementary Lesson. Not important, except that o7 occurs commonly in harmonic minor and o4 occasionally in both “altered forms” of minor. D. Show MacGamut interval drills. E. Go through synthesis homeworks. (Delayed) F. Sing Porterfield sequentials and pitch patterns. Homework Assignment #21: Due Monday 10/29 A. Do Straus, CH25–26, pp. 281–84, 291–94. You may consider doing the self-test to Chapter 4 now, even though it is assigned next time. B. Review all your scales from previous keyboard exercises. C. Practice all intervals in common clefs for 15 min/day: 1. Do http://musictheory.net/ “Interval identification” with all intervals. 2. Do “interval” with interval size and quality on http://www.sonicfit.com/ . 3. Do http://musictheory.net/ “Keyboard interval identification” with all intervals. 4. Do http://musictheory.net/ “Interval ear training”, as needed. D. Do MacGamut. 1. Interval written drills, level 5, 2. Intervals aural drills, level 1, and 3. Finish any previously assigned MG levels. E. Turn in MacGamut (MGS) file. Scales written drills, levels 1–4 or 60 additional minutes, Scales aural scales, levels 1–2 or 60 additional minutes, Intervals written drills, levels 1–5 or 60 minutes, and Intervals aural drills, level 1 or 60 minutes. E. Sing the Portfield sequentials p. 59 (on website). * MG DUE 10/29 before class * Page 25 of 42 CHAPTER 5: Triads and Seventh Chords Week 9 Triads & Sound design * MG DUE 10/29 before class * Monday 10/29 In class: A. Review of intervals. B. Quiz on intervals. C. Straus, Lesson 27 (Triads in 5/3). D. Show MacGamut chords drills. E. Basic Audio: frequency, harmonic series & partials, dB, sine/square/sawtooth/triangle/tooth waves, phase, spectrum, FFT, sonogram, white/pink/brown noise. F. Audio synthesis: Additive and subtractive synthesis. (Take notes so you know how to do the homework over the weekend!!!) G. Sound Design: Reverb, Delay, and various plugins. (Take notes so you know how... .) H. Sing Porterfield sequentials (patterns in minor) and pitch patterns. I. Check up on recording projects. Homework Assignment #22a: Due Wednesday 10/31 A. Do Straus, pp. 297–98 (review) and CH27, pp. 305–309. B. Practice playing all four types of triads on any pitch at the piano. C. Do http://musictheory.net/ 1. “Chord identification” with root-position triads for 10 min/day. 2. “Keyboard chord identification” with root-position triads for 10 min/day. D. Do “interval” with interval size and quality on http://www.sonicfit.com/ in bass and treble clef, as needed. D. Do MacGamut 1. Intervals written drills, levels 6–7, and 2. Chords written drills, levels 1. You will not turn this in yet. E. Sing Porterfield sequentials pp. 67–68 (download and print from website) with solfège and with numbers. Homework Assignment #22b: Due Friday 11/2 A. Finish your midterm project and present it on Friday. * RECORDING PROJECT DUE FRIDAY * Page 26 of 42 Wednesday 10/31 In class: A. Straus, Lesson 28 (Triads in 5/3, 6/3, 6/4, and figured bass). 1. If an accidental occurs above the bass, put it in the figured bass! (If the accidental occurs in the bass, it does not go into the figured bass numbers.) 2. Slash, +, or # in figured bass means “raise by ½ step”. Flat means “lower by ½ step”. (Sometimes composers have other shorthands, not mentioned here.) B. Audio Synthesis: filters (“equalization”), AM synthesis, FM synthesis, sidebands, modulation index. C. Sound Design: Compressor, Limiter. D. Sound Design: Reverb, Delay, and various plugins. (Take notes so you know how... .) E. Sound Design: Time shift, pitch transposition. F. Recording projects. G. Sound design and listening continued. H. Sing Porterfield sequentials and pitch patterns. I. Listening to electronic music. Homework Assignment #23: Due Friday 11/2 A. Do Straus, CH28, pp. 315–18. Remember to do the correct figured bass and to correct any in the Straus that are missing accidentals. B. Practice playing all triads in all inversions on any pitch at the piano. C. Do http://musictheory.net/ 1. “Chord identification” with triads in all positions for 10 min/day. 2. “Keyboard chord identification” with triads in all positions for 10 min/day. D. Do MacGamut 1. Intervals written drills, levels 8–9, and 2. Chords written drills, level 2. You will not turn this in yet. E. Sing Porterfield sequentials pp. 101 (download and print from website) with solfège and with numbers. Page 27 of 42 Friday 11/2 In class: A. Straus, Lesson 29 (RN in major keys). B. Porterfield sequentials. C. Recording projects. D. Listening to electronic music and sound design. Homework Assignment #24: Due Monday 11/5 A. Do Straus, CH29, pp. 323–26. B. Practice the keyboard exercises in Straus, p. 321. C. Do http://musictheory.net/ 1. “Chord identification” with triads for 10 min/day. 2. “Keyboard chord identification” with triads for 10 min/day. D. Do MacGamut. 1. Intervals written drills, levels 10–12, 2. Chords written drills, level 3, and 3. Chords aural drills, level 1. You will not turn your MGS file in yet. E. Sing Porterfield sequentials pp. 117 (download and print from website) with solfège and with numbers. Homework Assignment #24b: Due Monday 11/5 A. Make three widely different timbres using subtractive synthesis. Submit MP3 files via email. B. Make three widely different timbres using additive synthesis. Submit MP3 files via email. [Make sure to label the files logically, such as “[name]Add1”, so I can tell who made the sound and what the sound is!] C. Using a small passage from your recordings, demonstrate that you can use some of the effects in Audacity, such as (1) echo, (2) change pitch/speed/tempo, (3) normalize to -1 dB, etc. Submit MP3 files via email. Note: For more plugins for Audacity, see http://audacity.sourceforge.net/download/plugins . Page 28 of 42 Final Sound Design Project Requirements: 1. The electronic music will be at least one minute long. 2. The musical composition will have a form with at least two musical sections. 3. The piece will derive from at least three brief source sounds. (The source sound may not be obvious to the listener, but you should be able to explain and show to the instructor and class how you manipulated the sounds.) You are permitted to use synthesis techniques too. 4. You will have used at least five musical effects beyond mere copying and pasting, including pitch or time shifting, reverb, and filtering techniques. Other great effects include vocoder, pi warp, etc. 5. The musical composition will not depend entirely on traditional musical elements such as melody, rhythm/beat, or harmony. Rather it will depend on timbre, timing, texture, and other elements. You, however, may have a portion of the piece that relies upon beat mapping, looping, etc.; but, it may not be more than half of the piece. 6. The musical composition must project a mood, narrative, or some clear idea to the listener. Page 29 of 42 Final Art Song Composition Project Requirements: 1. The song will have at least two lines of lyrics. Four lines is suggested. 2. You will have at least four phrases of music, not including any introduction or coda. 3. The song will be in binary (AB) or ternary (ABA’) form. 4. The song will be set in any major or minor key other than C major. 5. The song may use only I, IV, and V chords. 6. The song must have a good melody that sets the words well. 7. The song must use piano or guitar accompaniment with a idiomatic texture. 8. The musical score will be put into Finale. The performer will perform from this. 9. Your musical score will have tempo marking, dynamics, correct beaming, correct slurs for melismas, etc. Some considerations and suggestions: 1. You are not required to use classical voice-leading, but are encouraged to do so. 2. You are not required to use traditional harmonic progress, i.e., V does not go to IV, but you are encouraged to do so. 3. Work from the text first and don’t start with the music first. 4. Some composers start with harmonies and create melody from it, while others start with melody and then accompany with harmonies. The latter approach will be more difficult with your limited knowledge and skills. 5. You are not required to use 4/4 meter and are encouraged to try something new. 6. You are not required to keep consistently to one meter, although most song writers do. 7. Your score must have voice and piano/guitar, but you are allowed to add other instruments, if you wish. (This is just more work, however.) 8. Try for something simple and beautiful. Being ambitious at this stage can really get you in trouble, esp. in terms of the time the project requires of you. 9. Balance between being consistent and surprising the listener. Set the listener up for certain expectations and thwart them artfully. Page 30 of 42 Week 10 Seventh chords Monday 11/5 In class: A. Straus, Lesson 30 (RN in minor keys). 1. Harmonies usually come from harmonic minor: i iio6 III iv V# VI viio6# . (Notice o harmonies are put in first inversion.) 2. Occasionally, harmonies will come from other forms of minor, esp. VII. Less commonly, v6, ii, III+, or #vio6 will occur in minor keys. B. Go through compound intervals in preparation for MG written drill assign. Homework Assignment #25a: Due Wednesday 11/7 A. Do Straus, CH30, pp. 331–33. B. Practice the keyboard exercises in Straus, p. 329, at the piano. C. Do http://musictheory.net/ 1. “Chord identification” with triads for 10 min/day. 2. “Keyboard chord identification” with triads for 10 min/day. D. Do MacGamut. 1. Intervals written drills, level 13–14, and 2. Chords written drills, level 4. Homework Assign #25b: Due Friday 11/9 A. Start your final project, stage 1. 1. Think of a subject, title, and narrative. 2. Sketch out the form on a piece of paper (a form diagram). 3. Start collecting recordings of interesting source sounds. Page 31 of 42 Wednesday 11/7 In class: A. Straus, Lesson 31 (V7 and figured bass). Remember that you will need to sharpen the leading tone in minor keys and, when above the bass, this will be reflected in the figured bass. Also known by near-synonyms Dom7 or Mm7 chords. 1. V7 bass wants to leap to tonic (5->1), but can move deceptively (5->6). 2. V6/5 bass want to rise to tonic (7->1). 3. V4/3 bass wants to go by step either way (2->1 or 2->3). 4. V4/2 bass wants to descend stepwise (4->3). B. Sing the “Dominant-seventh Mantra” from the Mantra handout (on website). Homework Assignment #26: Due Friday 11/9 A. Do Straus, CH31, pp. 339–45. B. Be able to play the harmonic progressions in Straus, p. 337, at the piano in a variety of keys. C. Do http://musictheory.net/ 1. “Chord identification” with Dom7 for 10 min/day. 2. “Keyboard chord identification” with Dom7 for 10 min/day. (Yes, there is only one choice, but spell the chords out in your mind and check.) D. Do MacGamut: 1. Intervals written drill, level 15, and 2. Chords written drill, level 5. E. Practice the “Dominant-seventh Mantra” from the Mantra handout (on website) with solfege and numbers. Page 32 of 42 Friday 11/9 In class: A. Straus, Supplementary Lesson (other seventh chords). 1. In major, IM7 ii7 iii7 IVM7 V7 vi7 viiø7 . (Note that one assumes Mm7 chord, unless the “M7” or “ø7” are in the superscript. So, correct the Straus.) 2. In minor, i7 iiø6/5 IIIM7 iv7 V7/# VIM7 viio6#/5 . (Note that one assumes a mm7 chord, unless “ø6/5” or “o6/5” occurs in the superscript. So, correct the Straus. Also, remember the accidental for #7 required in minor keys.) B. Review of Chapter 5. C. Do compound intervals descending in preparation for MG. Homework Assignment #27: Due Monday 11/12 A. Some homework with seventh-chord ID and writing. B. Do Straus, pp. 351–54 (self-test on chords). C. Be able to play the harmonic progressions in Straus, p. 337, at the piano in a variety of keys. D. Do MacGamut. 1. Intervals written drill, levels 16–17, and 2. Chords written drill, level 6. E. Turn in your MGS file via email by 8AM on Monday. 1. Scales written drill, levels 1–4 or 60 additional minutes, 2. Scales aural drill, levels 1–2 or 60 additional minutes, 3. Intervals written drill, levels 13–17 or 60 additional minutes, 4. Intervals aural drill, levels 1–2 or 60 additional minutes, 5. Chords written drill, levels 1–6 or 60 minutes. 6. Chords aural drill, levels 1 or 60 minutes. F. Do http://musictheory.net/ 1. “Chord identification” with all seventh chords for 10 min/day. 2. “Keyboard chord identification” with all sevenths chords for 10 min/day. * MG DUE 11/12 before class * Page 33 of 42 CHAPTER 6: FUNDAMENTALS OF HARMONY Week 11 Song writing * MG DUE 11/12 before class * Monday 11/12 In class: A. Quiz on Chapter 5. B. Straus, Lesson 32 (Tonic and dominant). C. Start talking about song writing project. 1. Use any text you wish. 2. Make up your own melody. 3. Only use I, IV, and V chords. 4. Write out an accompaniment for piano or guitar. You will not be graded on voice-leading. Homework Assignment #28a: Due Wednesday 11/14 A. Do Straus, pp. 361–62, 365–66 (half of lesson 32). B. Practice Straus, p. 359, at the piano. C. Do http://musictheory.net/ 1. “Chord identification” with all chords for 10 min/day. 2. “Keyboard chord identification” with all chords for 10 min/day. D. Do MacGamut 1. Intervals written drills, levels 18–19, and 2. Chords written drills, level 7. Homework Assign #28b: Due Friday 11/16 A. Start your final project, stage 2. Page 34 of 42 Wednesday 11/14 In class: A. Continued work on Lesson 32. B. Analysis and song writing. Homework Assignment #29: Due Friday 11/16 A. Do Straus, pp. 363–64, 367–69 (second half of lesson 32). B. Practice Straus, p. 359, at the piano until you can play the progressions easily in a variety of keys. C. Do http://musictheory.net/ 1. “Chord identification” with all chords for 10 min/day. 2. “Keyboard chord identification” with all chords for 10 min/day. D. Do MacGamut 1. Intervals written drill, level 20, and 2. Chords written drill, level 8. Friday 11/16 In class: A. Straus, Lesson 33 (neighbor and passing tones and harmonies). B. Analysis and song writing. Homework Assignment #30: Due Monday 11/19 A. Do Straus, pp. 379–82 (half of lesson 33). B. Practice Straus, p. 377, at the piano until you can play the progressions easily in a variety of keys; and, practice Straus, p. 378. C. Do http://musictheory.net/ 1. “Chord identification” with all chords for 10 min/day. 2. “Keyboard chord identification” with all chords for 10 min/day. D. Do MacGamut. 1. Chords written drills, level 9. Page 35 of 42 Week 12 Projects in class Monday 11/19 In class: A. Continued work on Lesson 33. B. In class work on projects. Homework Assignment #31a: Due Wednesday 11/21 A. Do Straus, pp. 383–86 (half of lesson 33). B. Practice the keyboard exercises in Straus, p. 390. Try transposing them. C. Do http://musictheory.net/ as needed. D. Do MacGamut 1. Chords written drills, level 10. Homework Assign #31b: Due Friday 11/23 A. Start your final project, stage 3. Wednesday 11/21 In class: A. Straus, Lesson 34 (predominant harmonies). B. In class work on projects. Homework Assignment #32: Due Monday 11/26 A. Do Straus, pp. 391–97 (somewhat large assignment). B. Practice the keyboard exercises in Straus, p. 406. Try transposing them. C. Do http://musictheory.net/ as needed. D. Do MacGamut and turn in your MGS file via email by 8AM on Monday. 1. Intervals aural drill, level 3, and 2. Chords written drill, levels 11–12. E. Turn in your MGS file via email by 8AM on Monday. 1. Scales written drill, levels 1–4 or 60 additional minutes, 2. Scales aural drill, levels 1–2 or 60 additional minutes, 3. Intervals written drill, level 1–20 or 60 additional minutes, 4. Intervals aural drill, level 1–3 or 60 additional minutes, 5. Chords written drill, level 1–12 or 60 additional minutes. 6. Chords aural drill, level 1 or 60 additional minutes. Friday 11/23 Thanksgiving * MG DUE 11/26 before class * Page 36 of 42 Week 13 Projects in class, cadences, and phrasing * MG DUE 11/26 before class * Monday 11/26 In class: A. Straus, Lesson 35 (cadences and phrasing). B. Introduce cadences, PAC, IAC, HC, PC, and explain “cadences” on good-ear.com : I IV I (PC), I V I (AC), I IV V I (AC), I II V I (AC), I VI IV V (HC), I VI II V (HC). (Notice their RNs don’t reflect quality.) C. Straus, Supplementary lesson (part-writing issues). D. Shumway, Lessons 3–4. [http://Teaching.ProfCouch.us/MusicianshipResources/ShumwayPreliminaryExercises.pdf .] E. Projects in class. Homework Assignment #33a: Due Wednesday 11/28 A. Do Straus, CH35, pp. 407–10. B. Do Shumway, Lessons 3–4, pp. 14, 17, in close position only (1v in LH, 3v in RH). C. Do http://www.good-ear.com/servlet/EarTrainer?chap=4&menu=1 “Cadences” -> Cadences, as desired. D. Do http://musictheory.net/ as needed. E. Do MacGamut 1. Chords written drill, level 13. Homework Assign #33b: Due Friday 11/9 A. Start your final project, stage 4. Page 37 of 42 Wednesday 11/28 In class: A. Work on projects in class. B. Shumway, Lesson 4, including melody harmonization. Supplement with Handel’s exercises. C. Review. Homework Assignment #34: Due Friday 11/30 A. Do http://musictheory.net/ as needed. B. Do Shumway, Lesson 4, pp. 17–18, in close position only (1v in LH, 3v in RH). C. Do MacGamut 1. Chords written drill, level 14. Friday 11/30 In class: A. Work on projects in class. B. Review Fundamentals. C. Review Shumway. Homework Assignment #35: Due Monday 12/3 A. Do http://musictheory.net/ as needed. B. Do Shumway, Lesson 4, pp. 17–18, in close position only (1v in LH, 3v in RH), and practice Handel exercises. C. Do MacGamut. 1. Chords written drills, level 15. Page 38 of 42 Week 14 Review and Projects Monday 12/3 In class: A. Work on projects in class. B. Introduce Shumway, Project 5, part A&B (figured basses). [http://Teaching.ProfCouch.us/MusicianshipResources/ShumwayTheoryI.pdf .] C. Review. Homework Assignment #36a: Due Wednesday 12/5 A. Do http://musictheory.net/ as needed. B. Do Shumway, Lessons 5, pp. 22–23 part A&B. C. Do MacGamut 1. Chords written drills, level 16. Homework Assign #36b: Due Friday 11/9 A. Start your final project, stage 5. Wednesday 12/5 In class: A. Work on projects in class. B. Review Shumway, Project 5, figured basses. Note the scale degrees of the soprano voice and their harmonization. C. Review. Homework Assignment #37: Due Friday 12/7 A. Do http://musictheory.net/ as needed. B. Do Shumway, Lessons 5, pp. 22–23 part A&B. C. Do MacGamut 1. Chords written drills, level 17. Page 39 of 42 Friday 12/7 In class: A. Work on projects in class. B. Introduce Shumway, Lesson 5, p. 24 part A (melody harmonization with RN). C. Review. Homework Assignment #38: Due Monday 12/10 A. Do http://musictheory.net/ as needed. B. Do Shumway, Lessons 5, p. 24 part A. C. Do MacGamut. 1. Intervals aural drills, level 4, and 2. Chord written drills, level 18. D. Turn in your MGS file via email by 8AM on Monday. 1. Scales written drill, levels 1–4, or 60 additional minutes, 2. Scales aural drill, levels 1–2, or 60 additional minutes, 3. Intervals written drill, levels 1–20, or 60 additional minutes, 4. Intervals aural drill, levels 1–4, or 60 additional minutes, 5. Chords written drill, levels 1–18, or 60 additional minutes, and 6. Chords aural drill, level 1, or 60 additional minutes. * MG DUE 12/10 before class * * Final Projects due Monday 12/10 before class * Page 40 of 42 Week 15 Presentation of Projects * MG DUE 12/10 before class * * Final Projects due Monday 12/10 before class * Monday 12/10 In class: A. Work on projects in class and prepare them for performance. B. Review Shumway, Lesson 5, p. 24 part A (melodies with RN). B. Introduce Shumway, Lesson 5, p. 25 part B (melody harmonization without RN). B. Review. Homework Assignment #39a: Due Wednesday 12/12 A. Do http://musictheory.net/ as needed. B. Do Shumway, Lessons 5, pp. 24–25 parts A&B. C. Do MacGamut until you have passed all assigned levels. Homework Assign #39b: Due Friday 11/9 A. Start your final project, stage 6. Wednesday 12/12 In class: A. Listen to and perform projects in class. B. Review. Homework Assignment #40: A. Do http://musictheory.net/ as needed. B. Practice Shumway, Lesson 5 (all). C. Do MacGamut until you have finished all assigned levels. D. Turn in your MGS file via email by the final exam time. It is graded on accomplishment, not time. 1. Scales written drill, continue working until you have passed levels 1–4. 2. Intervals written drill, continue working until you have passed all levels. 3. Chords written drill, continue working until you have passed all levels. 4. Scales aural drill, continue working until you have passed levels 1–2. 5. Intervals aural, continue working until you have passed levels 1–4. 6. Chords aural, continue working until you have passed level 1. C. Finish your final projects. Page 41 of 42 Week 16 Final Exams No class. No additional homework. Final Exam Tuesday 12/18 @ 8:00 AM MacGamut DUE before final exam. Page 42 of 42