Fall, 1996
Prof. Chenette
Office: FA203
Phone: x3065
E-mail: CHENET@AC.GRIN.EDU
Office Hours: Monday 10-11 a.m., Thursday 2:15-3:15 p.m.
Prof. Gaub
Office: FA208
Phone: x3071
E-mail: GAUB@AC.GRIN.EDU
.
Course goals:
1. to develop the ability to harmonize simple melodies and to compose brief pieces involving modulation between two closely related keys;
2. to develop the ability to analyze music and apply the results in music performance and listening situations;
3. to improve aural skills.
Texts and Materials:
White, Gary. The Harmonic Dimension. Dubuque, IA: William C. Brown Publishers, 1991.
White, Gary. The Harmonic Dimension: Student Workbook/Anthology. Dubuque, IA: William C. Brown Publishers, 1991.
Music manuscript paper for note-taking and assignments, soft pencil, double-sided Macintosh diskettes.
Policies:
Homework is highly cumulative and crucial to your success in this course. Count on spending about 2-3 hours on homework for each hour you spend in class. If a regular homework assignment takes you more than three hours, please tell the instructor. You may quit working after 3 hours and mark the point that you reached on the homework page(s) that you hand in. Your grade will be based only on the completed portion.
Homework will be graded on a check+, check, check-, P, and F basis, which will translate roughly into A, B, C, D, and F on your final homework grade.
Except in cases of medical emergency, work missed because of absences or lateness may be made up only upon arrangement with the instructor prior to the class missed. For the final composition, students may request a 1-day extension (composition due by 4 p.m. on the next day) by submitting a typed, 1-page request for extension and progress report, verifying and describing significant progress towards completion of the song.
Grade:
Homework 40%
Ear training 20%
Compositions 20%
Mid-sem and Final Exams (8% and 12%, respectively) 20%
Date Assignment due
Mon., Sep. 2 Read Ch. 1: Notation and Appendix B. Workbook #1.1-1.3, 1.5-1.6, 1.9-1.11. In each section, do only the odd-numbered exercises (unless you need more practice.)
Ear Training 1 Individual diagnostic sessions
Wed., 4 Read Ch. 2: Scales, Tonality, Key, and Modes. Wkbk #2.1-2.4, 2.7, 2.11-2.12. Odd-numbered exercises in each section.
Fri., 6 Read Ch. 3: Intervals. Wkbk 3.1-3.3, 3.6, 3.8 (multiples of 5), 3.10 (1-10). Meet today in AV Lab, ARH 2nd floor.
Mon., 9 Read Ch. 4: Chords. Work on MusicFUN. Print and submit a Score Card indicating that you have achieved a score of at least 400 with an accuracy of at least 90% on "Note Names" (Preferences: Text entry, Written, All clefs, Smart; Options: Harder); "Key Signatures" (Preferences: Keyboard or Staff entry, Written, Treble and Bass clefs, Smart; Options: Modes/Major & minor, Difficulty/6 Accidentals, Special/Normal); "Scales" (Preferences: Keyboard or Staff entry, Written, Treble and Bass clefs, Smart; Options: Major & 3 minor, Practice/Variable Tonic, Difficulty/Easier); and 80% on "Intervals" (Preferences: Staff entry, Written, Treble and Bass clefs, Smart; Options: Direction/Above & Below, Accidentals/Fewer, Difficulty/Harder, Presentation/Consecutive or Simultaneous, Practice/Variable Lower Note).
Ear Tr. 2 Singing of basic patterns - major/minor scales & triads
a) 12321
b) 123454321
c) 123456717654321
(major; natural, harmonic & melodic minor)
d) 13531; 72427(1); 35753
(compare III in natural & harmonic minor)
Work on MusicFun. Print and submit a score card indicating that you have achieved a score of at least 400 with an accuracy of at least 90% on "Triads" [Preferences: text entry, AURAL SKILLS, smart selection; Options: select Major, minor, diminished, and Augmented triads; difficulty - easier, presentation - consecutive]
Wed., 11 Wkbk #4.1 & 4.11 and print and submit a Score Card indicating that you have achieved a score of at least 400 with an accuracy of at least 80% on MusicFUN "Triads" (Preferences: Staff entry, Written, Treble & Bass Clefs, Smart; Options: Qualities/All, Presentation/Consecutive or Simultaneous, Difficulty/Easier).
Fri., 13 Wkbk #4.2-4.5, 4.12 (use o and + instead of d and A).
Mon., 16 Wkbk #4.15.
Ear Tr. 3 MEET IN AV LAB - INTERVALS ON MUSIC FUN. Work on MusicFun. Print and submit a score card indicating that you have achieved a score of at least 400 with an accuracy of at least 90% on "Intervals" [Preferences: text entry, AURAL SKILLS, smart selection; Options: direction - above, accidentals - fewer, difficulty - easier, presentation - consecutive]
Wed., 18 Wkbk #4.6-4.10, 4.17-4.18.
Fri., 20 Read Ch. 5: Cadences, Phrases, and Periods. Wkbk #5.1 & 5.5.
Mon., 23 Wkbk #5.2, 5.3 (only do #3 & #7 -- skip parts 3 & 4 of the instructions from p. 41), 5.4.
Ear Tr. 4 The fundamental harmonic progression: I - V(7) - I
Wed., 25 Read Ch. 6: Nonharmonic Tones and Harmonic Rhythm. Wkbk #6.1 & 6.2.
Fri., 27 Wkbk #6.3 (1,2), 6.5 (1-8), 6.8 (even only).
Mon., 30 Read Ch. 7: Voice Leading in Four-Part Chorale Writing. Wkbk #6.9.
Ear Tr. 5 The basic harmonic progression: I {IV, ii, ii6} V(7) I
Wed., Oct. 2 Wkbk #7.1 (odd).
Fri., 4 Wkbk #7.3 (odd), 7.6. Note that in 7.6 the key at the beginning of each line goes for the full line.
Also that the 3/3 figure in 7.3/3 is just a root position triad with doubled 3rd.
Mon., 7 Wkbk #7.9 (odd), 7.10.
Ear Tr. 6 In-class evaluation of ear-training skills covered before this week.
Wed., 9 Everyone do Wkbk #7.4 (3,4). Review for mid-sem exam by working as many of the following as desired: Wkbk #1.4, 1.12, 2.9, 2.10, 2.14 (1), 3.8 (81-100), 5.3 (4,5), 7.7 (5), 7.8 (1).
Fri., 11 Test: notate/construct/identify scales, key signatures, intervals, chords; identify cadences; non-harmonic tones; voice-leading; stylistic practices; realizing figured basses; analysis.
Mon., 14 Read Ch. 8: Harmonic Progression.
Ear Tr. 7 Prolongation of the opening tonic: I6, viio6, and V6
Wed., 16 Wkbk #8.7 (2 -- "Tell Me Why"). Replace instruction 2 by the following: Write out a 4-part chordal harmonization in 2 staves with the melody above on a separate 3rd stave above (piano-vocal notation). [Then you will also do a more pianistic version as indicated in instruction 3.]
Fri., 18 Wkbk #8.14 (Replace instructions by the following: Analyze with Roman numerals and figures. Connect circle progressions with a single slur. Connect [[daggerdbl]]6--I with a dotted slur. Ignore the IP as if it were not present. Label remaining progressions with Asc. 2, Des. 2, Des. 3, or Asc. 5 (Des. 4), as appropriate.) & 8.7 (3 -- instructions similar to Wed. assignment).
Fall Break
Mon., 28 Meet today in AV Lab, ARH 2nd floor for introduction to computer-assisted music notation.
Ear Tr. 8 Prolongation of the opening tonic: inversions of V7
Wed., 30 Wkbk #8.15 (4 only). Turn in melody and text of song for Friday.
Fri., Nov. 1 Compose a brief song (around 8-12 measures) with folk-like melody and an accompaniment based only on harmonies studied so far. Consider making this a political campaign song for or against some presidential candidate, OR a song for children based on a short Mother Goose rhyme. Use primarily quarter and eighth notes in the melody. Notate your song in 3 staves: one for the melody with text below and the other two for the accompaniment.
Mon., 4 Read Ch. 9: The Dominant 7th Chord. Wkbk #9.3 (Kuhlau,Haydn on p. 95 -- note that the key is G in spite of the key signature), 9.8, 9.9.
Ear Tr. 9 Prolongation of the dominant: the cadential 6/4
Wed., Nov. 6 Wkbk #9.4 (odd -- in ex. 3 use stylistic practice 10 in place of 17), 9.7 (#1, 2, & 5).
Fri., 8 Wkbk #9.11 (#5 1st half only, using at least one of each position of V7 chord) and revise songs incorporating at least one dominant 7th chord or its inversion.
Mon., 11 Read Ch. 10: The Leading-Tone 7th Chords. Note that ex. 10.1 (left), 10.6 ACEF, and 10.8 all include half-diminished LT 7th chords which should have slashes through their circles. Wkbk #10.8-10.11.
Ear Tr. 10 Prolongation of tonic: inversions of V7.
Wed., 13 Wkbk #10.6 (#1 and #5 -- on paper rather than keyboard. #5 uses LT 7th chords dissolving into V7's or inversions before going on to the I chord, like the examples in 10.11), 10.7 (#2 -- on paper), 10.12 (#1).
Fri., 15 Wkbk #10.13 (Do mm. 1-36 only. Add the word "Analyze." to instruction 2. For mm. 13 and 15, just indicate the root, quality, and position of the chord; don't worry about the Roman numeral.) & 10.14 (composition).
Mon., 18 Read Ch. 11: Non-Dominant 7th Chords. Wkbk #11.8, 11.9, 11.11 (#1).
Ear Tr. 11 Chorale phrases
Wed., 20 Wkbk #11.3 (#4 -- written. Ignore step 5 of the instructions. Note that the melody and bass line on the first 2 chords will not allow you to follow stylistic practice 3 strictly. Also note that the 8/7/3 figure is simply a root position 7th chord with the figure telling us to leave out the 5th and double the root), 11.7 (#4 -- written. Don't forget that the V-VI progression at the end of this one is a deceptive cadence requiring stylistic practice 4, second sentence.).
Fri., 22 Wkbk #11.12 (#3 -- piano-vocal notation, melody in one stave, 4-voice chordal accompaniment in 2 accompaniment staves. Hint: start 1st line with I7 and go around circle of 5ths at the rate of a chord per half-measure, start 2nd line with v7 and proceed similarly but then speed up to a chord per beat in m.7) and read Ch. 12: Modulation. Submit proposed text for final project (composition of a modulating song).
Mon., 25 Compose a brief modulating melody to this (or similar) text: "I am in C Major, C Major... (repeat as often as desired!), that facile key. How can it be so easy to compose C Major tunes? Contrasted with G Major, G Major... (repeat as often as desired!). It takes a major effort to compose a tune that ebbs and flows as naturally when the F is sharp. So I will spend the rest of my days exploring new ways to sing the praises of my fav'rite key which as you know must be C Major, C Major, C Major!"
Ear Tr. 12 Chorale phrases
Wed., 27 Wkbk #12.1 (#5), 12.2 (#3, #6), and harmonize modulating melody from Monday.
November 28 - December 1, Thanksgiving break
Mon., Dec. 2 Read Ch. 13: Secondary Dominants and Leading-Tone Chords. In-class analysis of excerpt from Joplin "Maple Leaf Rag," Wkbk pp. 168-69.
Ear Tr. 13 Pivot-Chord Modulation
Wed., 4 Work on songs, focussing on composing a melody that modulates and fits the rhythm and meaning of your text. Analysis: Schubert "Morgengrüß", Wkbk pp. 360-61."
Fri., Dec. 6 Work on songs, focussing on composing the harmony and elaborating it in an appropriate accompanimental style. See Wkbk, bottom of p. 117, for some ideas on typical accompaniments appropriate for piano. Analysis: "Greensleeves" (photocopy of well-known, ancient folk tune.)
Mon., 9 Final versions of songs due. In class: analysis exercises based on seasonal music.
Ear Tr. 14 Review; evaluation of ear-training skills covered this semester.
Wed., 11 Songs performed in class.
Fri., 13 Songs performed in class.
Wed., Dec. 18 Final Exam. Copy of stylistic practices given. Covers anything from mid-sem plus fill in 9:00 a.m. inner voices, harmonize melody, analyze.
last modified, June 27, 1996