Vocabulary for a cross-cultural musical analysis
basic music notation style sheet
Minor scales and melodic contours.
Past Web Readings :
reading for September 16th: Keep Your Ear-lids Open - Garry Ferrington
Due Sept. 5th
Review lessons 1-9 of Gary Ewer's "Easy music theory"
Personal Musical Ethnography
Due Sept. 9th
Lessons 13-14 of Gary Ewer's "Easy music theory
Rhythm Composition 1 (due 9/9)
write two 8 bar, one voice rhythm compositions. the first should have a simple time signature, the second a compound time signature. The composition should use a mixture of note and rest values. Practice "performing" your compositions by clapping or tapping a desk. Notate the time signature and indicate the notes with note heads on one line of a staff, each note head having the appropriate flags. Compositions will be collected in class.
Class Sept. 12 Cancelled due to illness
Rhythm Composition 2 (Due: Sept. 16th in class.)
write one 16-32 bar, two-voice rhythm composition. The composition can combine simple, compound and mixed meter as you wish. Notate two separate staffs, one for each voice, review lesson 25 of Gary Ewings' online theory for examples of how to link multiple voices in a score (http://musictheory.halifax.ns.ca/25score.html) Use proper note values, groupings, and rests. End the joined example with a double bar. If possible, practice your example with a classmate for performance in class.
Due Sept. 19th
Read: basic music notation style sheet - recopy your assignment if necessary.
reading for September 16-19th: Keep Your Ear-lids Open - Garry Ferrington
Due Sept. 23rd
Read: Minor Scales: http://www.musictheory.halifax.ns.ca/12minor_scales.html
Melodic Composition (due in class Sept. 23rd)
Write 2 melodies each at least 8 bars long, 1 in simple meter one in compound, 1 in major and 1 in natural minor. Try to include at least 2 "gestures" or "phrases" within your melody with points of rest and relief. Mix conjunct and disjunct motion to create interesting contours that are performable. If at all possible, practice your melody on piano, voice or instrument for performance in class next monday. make sure your examples are notated clearly, include a key signature and neatly follow concepts of good style.
Due Sept. 26th
Handouts: Minor scales
Scale Invention(due in class Sept. 26th)
Invent a scale. write the scale out with accidentals and label its intervallic make-up. Write a short melody using the scale. The time-signature, rhythm, and melodic contour should reflect the quality of the new scale and provide a unique "feel" for the melody. Name the composition based on the sound and quality of the melody. Use good rules of notation in copying your assignment.
Due Sept. 30th
Download finale notepad and recopy your altered scale melody with note articulations, dynamics and expressive markings. print your results to hand in during class. Make sure that your computer notation is "perfect" and that you are in control of the software (not it of your music).
read about intervals at teoria.com
review intervals from Gary Ewing, lesson 10
Due Oct. 3rd
Study the sections: intro, modes, and CF (cantus firmus) on the species counterpoint site http://www.listeningarts.com/music/general_theory/species/menu.htm
Choose 2 modes from this list: dorian, phrygian, lydian, mixolydian, locrian. write a short melody stressing the unique sound of the mode. Use your notation software and email to firstname.lastname@example.org by 12:00 thursday before class to have them played in class.
Due Oct. 7th
Study the sections: intro, modes, and CF (cantus firmus) on the species counterpoint site http://www.listeningarts.com/music/general_theory/species/menu.htm (link now fixed)
Next Assignment - Due Oct. 10th
Choose 2 modes that you did not use on the Oct. 3rd assignment and that are in the list found at the bottom of the page of the modes section of listening arts link above. In each of your two modes, write your own cantus firmus following the rules listed on the listening arts site section on Cantus Firmus. Use your notation software and write the example in the alto clef. Use the "viola" instrument to specify alto clef.
Or, edit the "instrument.txt" file in the finale notepad directory of your computer to make the alto voice use the alto clef. Change clef = treble to clef = alto and save the file. restart the program and select alto in the setup menus.
Name = Alto
Abbr = A
useKeySigs = 1
Transposition = 0
StaffType = standard
Clef = alto
Patch = 0
email your 2 cantus firmus to email@example.com by 12:00 thursday before class to have them played in class.
Due Oct. 15th
Study the section on First Species Counterpoint on: http://www.listeningarts.com/music/general_theory/species/menu.htm
print the 4 examples of 1st species counterpoint at the bottom of the page and label all vertical the intervals.
Due Oct. 17th
Using the first cantus firmus by fux (a) on this page:
Writetwo counterpoint examples: one 1st species counterpoint above the cantus firmus and one 1st species counterpoint below the cantus firmus.Label all vertical intervals. Make sure your name is on the notation pages and submit electronically to firstname.lastname@example.org by noon on Oct. 17th.
Due Oct. 21st
Using the second cantus firmus by fux (b) on this page:
Writetwo counterpoint examples: one 1st species counterpoint above the cantus firmus and one 1st species counterpoint below the cantus firmus.Label all vertical intervals, identifying both the size and quality; P5, M6, m3, P8, etc. Make sure your name is on the notation pages and submit electronically to email@example.com by noon on Oct. 21st.
start to familiarize yourself with the rules for second species counterpoint:
Due Oct. 24th http://www.listeningarts.com/music/general_theory/species/cfs.gif Print the 4 examples of second species counterpoint found on the bottom of this page: http://www.listeningarts.com/music/general_theory/species/2nd.htm write the harmonic interval quantities between the staves for each example ( ex. M3, m3, P5, etc.). Circle all dissonant harmonic intervals. Label passing tones with the letter "P" above the counterpoint note. Due Oct. 28th handout: 2nd species review Using cantus firmus (g) by Salzer and Schachter on this page: http://www.listeningarts.com/music/general_theory/species/cfs.gif write one 2nd species counterpoint above and one 2nd species counterpoint below the cantus firmus. Use finale, label the vertical harmonic interval quantities between the staves for each example ( ex. M3, m3, P5, aug.4th etc.). Label passing tones with the letter "P" and neighbor notes with an "N." email your counterpoint to firstname.lastname@example.org by noon on Oct. 28th to play in class.
Due Oct. 31st redo and check oct. 28th assignment. email your counterpoint to email@example.com by noon on Oct. 31st to play in class. Due 11/4 redo and correct counterpoint assignments. read section on chords up to "origin of the names": http://www.teoria.com/reference/index.htm
Due 11/7 read section on chords up to "origin of the names": http://www.teoria.com/reference/index.htm write a 4 bar melody that supports a cmajor triad. important notes of the triad should fall on important beats. passing tones and dissonant tones can be used to create tension. Complete the assignment with your notation software and email to crb before class thursday.
Due 11/11 write a short diatonic melody (melody using notes of major scale) and harmonize it using triads based on the major scale . important notes of the triad should fall on important beats. write the chords as a roman numeral over the melody, fill in the bass note and other chord tones keeping common tones. email to crb before class thursday.
Due 11/21 web reading: http://www.teoria.com/reference/chords.htm read the sections starting with 7th chords up to and including 9th chords start on your ideas for the final composition. final assignment due dec 2 and 5th in class" performances" - 30 points (= 3 daily assignments) although you will be asked to discuss your work along the way in class and show progress towards the final composition. I would like you to write one final composition with the following features: 1) of a scope larger then you have done before in class. this does not necessarily mean that it will be long. rather, that it be better planned and thoughtfully executed 2) that this composition be artistic and of interest to you. something you hopefully will be proud of and play for people. 3) the composition may be written for performance solely within "notepad" or scored for live musicians. communicate with your me and your classmates about your interests and the availability of musicians so we might plan for the performance. 4) that the composition have at least 2 different sections and shows a thoughtful use of harmony and counterpoint. we will discuss your ideas along the way in class and i will ask you to send your scores to me at least once for review while you are writing. Due 11/18 harmonize the 8 bar melody on the top of this page: http://musictheory.halifax.ns.ca/22cadences.html write the figured bass roman numerals (including inversions: 6, 6/4 etc.) and realize the harmonization using half notes in the other voices. strive for a good bass line, try to keep common voices between chords and resolve any V I cadences making sure that the leading tone of the key (the third of the V chord) goes to the tonic (1st scale degree). Due 11/14 read
Take the following chord progression: I vi ii V vi IV V I write an 8 bar melody that supports the chord progression. add a bassline (whole or half notes) you can use triad inversions. fill in the other members of the chords. notate and turn in as usual before the thursday class.