Wednesday
Oct312012

Voice & Rhythm Mid-Term (Nov 7-9)

Ottman/Rogers— 6.55, 7.29 (Molto Espressivo, bitte sehr)

Interval Drills— be prepared to sing an ascending or descending interval drill previously learned, from any starting point.

Sung-chord Drill— be prepared to sing the drill beginning on E, Eb, B, and Bb. 

Sight-singing practice: Melodia Examples 72-74 (p 46), 99-103 (p 48); Ottman/Rogers 2.37-2.43, 3.7-3.12

Monday
Nov052012

Week 7-8 Keyboard Skills (Due Mon Nov 19!—Tues Nov 20!)

Prepared Interpretation:

Minuet Dm bars 1-8 in two ways

(1) as written

(2) after analyzing the harmony, re-write the left-hand as a figured bass. Perform the result (bass in the left hand and figures in the right, as usual) while singing the melody.

Scales (fingerings in comments below):

(1) F minor and A minor—in parallel motion rising melodic and descending natural, using a 4-6 note rhythm pattern of your own choosing (make sure you use at least two note values, and make sure the pattern is at least four notes long)

(2) Bb major—spreading and converging

Chord progression (in A major and F major):   Perform this progression in a quadruple meter (like 4/4), with chords on each beat except where the word “beat” occurs, indicating that the previous chord is a half note. (If you read it aloud, the rhythm will make sense intuitively.)

I-IV-I (beat) I6-IV-I6 (beat) (beat) IV ii6 *K6/4* (beat) V I

The *K6/4* (= a I6/4 chord) will be placed on a strong beat. Treat the 6 and 4 above the bass as though they are accented non-chord tones above a “V,” resolving to the V.

 

 

Friday
Nov092012

Week 7 Voice & Rhythm Due Wed Nov 14—Fri Nov 16)

Sung arpeggio drill: (NEW.) Given any note in the key of D major or F major, sing a descending diatonic triad in each of the following types: 5/3, 6/4, and 6/3. Use letter names descending, and then ascend; on the ascending (middle) note of the chord, sing its quality. For example, given E in D major, sing descending “E, C#, A, major” (<-on the note “C#”), “E, C#, G, diminished” (<-again, last word on the C#), “E, B, G, minor” (<- last word on the B). You may be given any starting note in either key, and you should be able to complete the task with confidence, as a result of your practice. 

Ascending Interval Drills in minor keys: G minor, A minor. As you ascend from any starting note by an interval *arriving* at 6^, sing the interval corresponding to the lowered and the raised 6^; do the same for 7.

Prepared Singing: Recitative: “Thy Rebuke Hath Broken His Heart,” by G.F. Handel (1685-1759), on p 88 of the Burkhardt Anthology.

Sight-singing Practice: Ottman 9.20—9.40, including Section 5 “Structured Improvisation.”

Friday
Nov092012

18th-century counterpoint listening part 1

Gergely Sárközy plays J.S. Bach’s Prelude BWV 997 http://www.youtube.com/watch?v=V4ZRn6Hk8N0

Luca Pianca plays J.S. Bach’s Suite for lute in E (BWV 1006), http://www.youtube.com/watch?v=AWql6nXqA3s&feature=related 

Ugo Orlandi, mandolin & Sergio Vartolo, harpsichord, play Domenico Scarlatti Sonatas for Mandolin and Cembalo http://www.youtube.com/watch?v=s83GfIZ1G3w&feature=related

Elizabeth Farr, harpsichord, plays Elisabeth-Claude Jacquet De La Guerre (1664?-1729) - Harpsichord Suite No. 1 in D minor http://www.youtube.com/watch?v=W1RDQc2pJxk

Colin Tilney plays Handel - Passacaglia (from Harpsichord Suite No. 7) http://www.youtube.com/watch?v=Y6A8TsK0eno

Friday
Nov092012

Week 9 Voice & Rhythm Due Wed Nov 28—Fri Nov 30)

Sung arpeggio drill: Given any note in the key of E major or G major, sing a descending diatonic triad in each of the following types: 5/3, 6/4, and 6/3. Use letter names descending, and then ascend; on the ascending (middle) note of the chord, sing its quality. See examples in the previous week’s assignment

Ascending Interval Drills in minor keys: F minor, Bb minor. As you ascend from any starting note by an interval *arriving* at 6^, sing the interval corresponding to the lowered and the raised 6^; do the same for 7.

Prepared Singing: Perfect your interpretation of Recitative: “Thy Rebuke Hath Broken His Heart,” by G.F. Handel (1685-1759), on p 88 of the Burkhart Anthology, accompanying yourself with a planned interpretation of the figured bass.

Sight-singing Practice: Ottman/Rogers 11.9, 11.10, 11.14, 11.15, 11.20-11.29.

Friday
Nov092012

Week 9 Keyboard Skills (Due Mon Nov 26—Tues Nov 27)

Prepared Interpretation:

Minuet Gm bars 1-6 in two ways (same manner as last week’s preparation of the Minuet in Dm)

(1) as written

(2) after analyzing the harmony, re-write the left-hand as a figured bass. Perform the result (bass in the left hand and figures in the right, as usual) while singing the melody.

Scales:

(1) G minor and B minor—in parallel motion rising melodic and descending natural, using a 4-6 note rhythm pattern of your own choosing (make sure you use at least two note values, and make sure the pattern is at least four notes long)

(2) Ab major—spreading and converging

Chord progression (in B major and Eb major):   Perform this progression in a quadruple meter (like 4/4), with chords on each beat except where the word “beat” occurs, indicating that the previous chord is a half note. (If you read it aloud, the rhythm will make sense intuitively.)

I-I6-IV (beat) IV-ii-I6 (beat) (beat) IV ii6 *K6/4* (beat) V I

The *K6/4* (= a I6/4 chord) will be placed on a strong beat. Treat the 6 and 4 above the bass as though they are accented non-chord tones above a “V,” resolving to the V.

Tuesday
Nov202012

KEYBOARD SKILLS FINAL EXAM (Mon 12/3 & Tues 3/4)

Prepared Interpretation:

Minuet Gm or Minuet in Dm as a complete performance. Repeats should be modified in some way, reflecting your learning about NCTs and harmony.

Scales:

Your TAs will ask you to play one parallel motion scale and one converging/spreading motion scale, one of which will be major and the other minor. These will be drawn from keys learned so far:

Parallel motion (in steady, legato eighth-note feel): B minor, C minor, D minor, A major, F major, B major

Spreading/Converging motion:  G minor, C minor, F minor, E minor, B-flat major, A-flat major

Figured Bass: in F# minor (BLC).

REMINDER: 

no figure = 3 and (optional) 5 above bass, using unaltered notes of the scale

6 = 3 and 6 above bass, ” ” “ 

6/4 = 4 and 6 above bass, ” ” ” , always double the bass note.

4 = 4 and 5 (5 is not optional) above the bass, ” ” ”  (usually resolving to 3 where indicated)

7 = 7, (optional) 5, and 3 above bass, ” ” “ 

6/5 = 6, 5, and 3 above the bass, ” ” ” .

4/3 = 6, 4, and 3 above the bass, ” ” “

4/2 = 6, 4, and 2 above the hass, ” ” “

P = bass note not harmonized; it passes to or between other bass notes that function normally in the progression.

Tuesday
Nov202012

VOICE & RHYTHM FINAL EXAM (Wed 12/5—Fri 12/7)

VOICE & RHYTHM

Sung arpeggio drill: (NEW.) Given any note in the key of B major or A major, sing a descending diatonic triad in each of the following types: 5/3, 6/4, and 6/3. Use letter names descending, and then ascend; on the ascending (middle) note of the chord, sing its quality. (See examples from the previous week’s assignment.) You may be given any starting note in either key, and you should be able to complete the task with confidence, as a result of your practice. 

Ascending Interval Drills: in minor keys: C minor, D minor.

Sight-singing practice: Ottman/Rogers 4.27-4.31, 5.16-5.19, 6.1-6.8

Prepared Singing: print a copy of Nel cor più non mi sento. Beginning with m 9, and continuing through the downbeat of m 22, write a figure under each bass note, accurately representing the harmony at each point. Learn to play a simple chord for each bass note, accompanying yourself in tempo as you sing the song in Italian. Pronunciation will be discussed in lecture.

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