You may earn a small bonus if you do all of the following:
- Check your answers and mark any errors
- Write a brief paragraph of reflection/suggestions for self-improvement
- Hand in at the beginning of the exam period next week
Friday, April 30, 2021
Ear training 3 - answer key for practice dictation exam
Thursday, April 29, 2021
Wednesday, April 28, 2021
Tuesday, April 27, 2021
Monday, April 26, 2021
Bolyard Composition Draft
https://drive.google.com/file/d/1svVADTMNn9qsHR96pHqTiIg3DW9CoRD7/view?usp=sharing
I couldn't get the file to upload, so here is just a link to the PDF of my draft in my Google Drive.
Thursday, April 22, 2021
Composition recital: information and deadlines
On the last day of Theory class (Thursday 4/29), we will have a
composition recital of pieces composed by you! Tuesday will be a
workshop day, so the closer your piece is to being complete, the better.
Criteria for your compositions/performances:
- Performance
- Each student must perform on at least one piece (your own or a classmate's)
- Each piece must have at least one student performer from our class. Other performers are welcome if you would like to invite them
- Be sure to get a commitment from your performer(s) before deciding on your instrumentation
- Composition
- Your piece should be a minimum of 16 measures and two phrases long. Longer is acceptable (within reason; 5 minutes maximum length)
- It should conform to common-practice norms ... one goal for this project is for you to demonstrate your understanding of these norms
- (If you want to write and perform a non-common practice piece, you may do so, but only IN ADDITION to your common-practice piece. Grading will be based on the common-practice piece)
- The piece should contain at least three concepts covered this
semester. These may be harmonic (for example, mediant or submediant
triads, diatonic seventh chords), phrase-structural (e.g., sentence
structure, parallel interrupted period), thematic (diminution,
inversion, etc.), or harmonic sequences. At least one of these concepts
should be harmonic, and at least one should be something other than
harmonic. As you see, we did a lot this
semester! (See list at bottom of this post.)
One of the learning objectives of the composition project is to help you develop your written communication skills. Therefore, the project includes two written components.
For the performances on Thursday, you should also write at least one paragraph of Program Notes. This should be written in a relatively formal style similar to program notes you have seen on student or guest recitals. Program notes are written for a lay audience (assume your readers are intelligent people, but not necessarily trained musicians; therefore, program notes don't include musico-technical vocabulary). Ideas that may be included are: the mood you hope to evoke with your piece; specific instrumental or vocal techniques that you use; your reasons for choosing the particular key and meter you did; and the style or styles you are referring to with your composition. Program notes should be somewhere in the neighborhood of 100 words. A bit more or less is OK within reason (500 words or 20 words are not acceptable lengths).
Additionally, write a brief analytical paragraph (for me, not for public distribution) explaining your use of the theoretical concepts. This will not duplicate the content in the program notes (but may refer to some of the same ideas). This represents a different kind of writing, where you will demonstrate skill in explaining musical concepts to a specialized audience, your professor, who understands musical terminology and concepts. You will hand in an annotated score (showing the concepts); your analytical paragraph may refer to this.
What/when to submit:
- Due Tuesday, April 27 12:25 PM:
- A draft of your composition. Bring these to class (one copy should be enough, also post a picture to the blog, so that all class members can provide feedback), as well as uploading picture(s) to Sakai.
- Due Thursday, April 29, 8:00 AM:
- Title, personnel, program notes (Use this form)
- Final version of composition. You should have at least two hard copies. One will be the annotated score, which will be handed in to me. (Annotations will be things like a roman numeral analysis, markings showing any motivic relationships, sequences, phrase structure, cadences, etc.) The other one(s) will be used for your performer(s) to read off. Also hand in the brief analytical essay at this time. (I will probably make an assignment in Sakai for the essay.)
List of concepts we studied in Music Theory 3:
Harmonic
Diatonic seventh chords
Mediant
Submediant
Subtonic
Harmonic sequences
Descending fifths
Descending thirds
Ascending 5-6
Form
New cadences
Deceptive
Phrygian
Plagal
Phrase structure – period (parallel or contrasting; interrupted, continuous, sectional, or modulating)
Sentence structure (2+2+4 or equivalent proportions; basic idea (x2), continuation➤cadential)
Compound melody
Thematic transformation
Repetition
Transposition
Melodic Sequence (tonal or real)—also modified sequence
Imitation
Intervallic contraction/expansion
Inversion
Augmentation
Diminution
Change of mode
Melodic Retrograde
Fragmentation
Wednesday, April 21, 2021
Tuesday, April 20, 2021
Mini Lesson 2: Ally Hager
https://drive.google.com/file/d/1fM5mnTamFFCaL08vQfAetzdRhmhBDvwX/view?usp=sharing
Mini Lesson 1: Ally Hager
https://drive.google.com/file/d/156XvB4BOv3oSrwPcRbCer4cxrotDPB6e/view?usp=sharing
Sunday, April 18, 2021
Kaitlyn Crow Mini Lesson #1
I'm sorry about the sections where the audio is gone, but I think you can tell what I am trying to say if you look at the animations and what is being circled or pointed at.
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The first modulation in this excerpt occurs in the second beat of measure 278. It begins in D major and modulates to A major through the us...