November 28 – December 2, 2016


Monday

Benward Chapter 6: Melodic  Organization

We will learn the characteristics of motives, phrase and period types.

You will

  • complete Assignment 6.2 ( On Sibelius)
  • begin Compostion Assignment #4, adding motives and melody construction to previously learned concepts:

 

FIRST: Click here for complete instructions for Composition Project #4

Download and Open in Sibelius: Composition Project #4 (free response question #6 on AP Exam): Using Roman Numerals to generate melody, harmony, non-harmonic tones and cadences

DO NOT START UNTIL YOU HAVE READ ALL – ALL – of the instructions! Follow the directions IN ORDER for each example.

We will do #1 together SLOWLY, so:

  1. pay close attention
  2. take notes
  3. if you do not understand something, ask me to explain. This review is to make sure you understand everything we’ve covered. Do not hesitate to ask questions. If you don’t understand something, there’s a 100% chance that you are not alone.
  • Roman numeral analysis is given
  • Build your chord matrix. Build each chord from the Root up and circle or underline the BASS note, which may or may NOT be the root.
  • Add Chord Symbols ( Control + K )  above each chord (above treble staff) as indicated in examples
  • Compose your melody from notes in your matrix: PLEASE follow these guidelines for composing your melody (soprano line):
  1. Your melody should move in mostly conjunct motion, making your melody “singable.”
  2. Your melody should be moving in contrary motion to the bass line at LEAST 50% of the time.
  3. Keep your soprano line on treble staff, from first line E to top line F and, again, compose your melody in mostly conjunct motion.
  4. If you use an interval larger than a 3rd, the next interval should be a second. Do not use consecutive intervals larger than a 3rd, unless the notes outline a triad.
  • Compose the alto and tenor voices using static motion (keep the common tone) as often as possible, otherwise move to the next nearest chord tone. The range from Tenor to Alto and the range from Alto to Tenor must never be more than an octave.
  • Make sure you’ve composed a cadence as indicated. For some, you may get to choose PAC or IAC according to melody notes. Others are inflexible.
  • Use the Music Theory Quick Factssheet!
  • Add non-harmonic tones to each example as instructed on the template. Each non-harmonic tone has a specific pattern / “formula.” (Benward pages 102-111)
  • Use the Sibelius proofreading plug-in to check for Parallel P5s and P8s. If found, correct them.

 



Tuesday/Wednesday

AURAL PROF:

  • Page 45 #1-4 Sight Singing – notice that melodic dictation assignments contain same patterns.
  • Page 41 Harmonic Dictation in major and minor keys; primary triads: root position and 1st inversion.
  • Assignment 18

 

Benward: Complete Chapter 6

  • Assignments 6.3, 6.4 and 6.7

 

Continue Composition Assignment #4: FOLLOW THE INSTRUCTIONS, STEP-BY-STEP.

Homework due Next Class Period

Ben 6.3, and 6.4 and 6.7

Aural Prof #18

 



Thursday/Friday

AURAL PROF:

  • Page 45 #5-8 Sight Singing – notice that melodic dictation assignments contain same patterns.
  • Page 42 Harmonic Dictation in major and minor keys; primary triads: root position and 1st inversion.
  • Assignment 19

 

Continue Composition Assignment #4: FOLLOW THE INSTRUCTIONS, STEP-BY-STEP.

 

Homework Next Class Period:

Aural Prof #19