DOCSLIB.ORG

Syllabus Spring, 2020 Music 321 Elementary Piano 1 Section 13137 Lecture 13156 Lab Tuesdays 6:50-10:00 PM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Syllabus Spring, 2020 Music 321 Elementary Piano 1 Section 13137 Lecture 13156 Lab Tuesdays 6:50-10:00 PM Syllabus Spring, 2020 Music 321 Elementary Piano 1 Section 13137 Lecture 13156 Lab Tuesdays 6:50-10:00 PM Instructor: Ms. Claire Rydell E Mail: Ask questions and report absences: [email protected] Subject: Piano Class Office Hours: Tuesdays 6:15-6:50 PM Room M100 Textbooks: 1) Bastien Piano for Adults Book 1 (you do not need the CD’s), KJOS KP 1B ISBN 0-8497-7302-4. (about $15.95) 2) Rydell Music 321 Scales, Chords & Materials for Learning (about $15) AVAILABLE ONLY AT THE BOOKSTORE Ask for the coursebook at the cash register if it is not on the shelf. Get the books today. You MUST have the books at the next class. Other music stores include: Baxter Northrup 14534 Ventura Blvd 818-788-7510 Keyboard Concepts 5539 Van Nuys Blvd 818-787-0201 Sam Ash Music 20934 Roscoe Blvd 818-709-5650 Bring a pencil & eraser to class to write in your books. Write fingerings and counting in your music to help you play well. Please bring your own headset to class and a mini jack adapter that converts 1/8” to 1/4”inches (3.5 mm to 6.5 mm.) You need to have a metronome: you can download an app like MetroTimer. Student Learning Outcome: SLO #1: Student will be able to play beginning level piano technique, including one-octave scales and primary triad chord progressions in the following keys: C, G, D, A, and E Majors. SLO # 2: Student will be able to play beginning level piano repertoire. Course Objectives: Upon successful completion of the course, students will demonstrate skill in basic piano playing including correct posture and hand position, independence of fingers, locating notes on the keyboard in treble and bass clefs, understanding and performing basic rhythms and learning efficient methods for practicing. The student will ~Learn and perform six five-note pentascales and tonic chords (C, G, D, A, E and F) hands together (see Rydell p. 62) ~Learn and perform 6 one octave scales, hands together in parallel motion (octaves) ~Learn and perform primary triad chords in the following keys: C, G, D, A, E and F Major, hands separately, with correct fingering for the I-IV-I-V-I progressions ~ Play a minimum of six beginning level piano repertoire pieces. ~Learn three minor chords: C minor, G minor and F minor (Bastien p.118) This is a fast paced and interactive class. Three hours a week of class time is not enough to develop these skills, you must set aside at least a minimum of 30 minutes per day, to PRACTICE outside of class. You need access to an instrument. Students are responsible for all homework assignments (theory, practice, excerpts of music) regardless of absence. To sign up for the practice rooms send your name and student ID# to [email protected]. You can then sign in on the old computer in Room 103 using the last four digits of your student ID. Student Conduct Policy Academic dishonesty including plagiarism and cheating will not be tolerated, nor will disruptive behavior or talking during class. Students are expected to uphold the Classroom Conduct standards published in the Schedule of Classes (Board Rule 9803.10- 9803.26). Turn off all electronic devices. Students may not use cellphones in class. If they are brought to class, they must be in “silent” mode. Students who do not adhere to these policies will be asked to leave. Smoking, eating and drinking are not allowed in the classroom. Please close your keyboard and push your bench in before you depart. Classroom Participation Students are expected to attend the full three hours of every class and to arrive on time. A part of your grade is participation in class. If you have 5 absences per semester, your grade may be lowered one full grade or you may be dropped from class. If you depart early from class often, your grade may be lowered one full grade. If you stop attending class it is your responsibility to withdraw officially. Please attend class even if you feel unprepared since it is generally more difficult to learn the material on your own. Drop Date The deadline to drop without a “W” is February 23, 2020. Dropping after this date will result in a “W” on your transcript. Effective since July 2, 2012, students now have 3 attempts to pass a class. If a student gets a “W” or grade of “D”, “F”, “I” or “NP” in a class, that will count as an attempt. Therefore, please consider if you can reasonably manage this course with other factors in your life (e.g. family, work, course load). If you have any concerns or questions, do not hesitate to talk with me. You may also see a counselor in the Counseling Center in AD 108. Grade Distribution and Evaluation Your grade is a function of weekly class participation, attitude, performance quizzes (that show your ability to play chords and scales,) six written quizzes, the final exam, the assigned repertoire and one concert report. Grades will be based: 80% Quizzes, weekly quizzes, written tests and Final Exam performances 10% Class participation including sight-reading, transposition, repertoire and scales 10% concert report A=Excellent class participation and growth, clear understanding of theory, concert report B=Signs of practice and learning, struggling with theory but working hard C=Little demonstration of practice or learning, no concept of most theory D=Little or no practice, minimal performance F=No practice, no understanding of theory There will be no make up exams. Students must be prepared for technique, pieces and written tests at the designated time of the exam. Concert Report You must attend a piano performance of classical music and write a two page, double spaced, 12 point typed synopsis of the event. Attach the program. It is due at the final, June 2, 2020. Do not wait until the last minute. Subscribe to the Chamber Music Newsletter by contacting [email protected] and subscribe to [email protected]. Due to renovation of Los Angeles County Art Museum, the free Sunday concerts venue has changed. They will join St. James’ In-the-City’s programs, located at 3903 Wilshire Blvd., Los Angeles, CA 90010, 213-388-3417. Concerts will be posted on www.lacma.org/events, visit Sundays Live for information. You can check the LA Times website, Daily News, LA Weekly and websites such as Eventful or PerformingArtsLive.com. Attend LA Valley concerts Wednesdays at 1 PM (check the dates and times carefully). Chamber music, classical vocal recitals and orchestral concerts are acceptable, just make sure that there will be a piano as part of the concert, and if you’re not sure, ask me. Concerts in bars and church services will NOT fulfill this requirement. Important Reminders: You must have access to an instrument to practice. Daily practice is essential. Listen to classical music radio: KUSC 91.5 FM or KCSN 88.5 FM every day. Listen to K-Mozart on the internet or AM 1260, try Pandora, Spotify, IheartRadio, Apple music and seach for “piano music-classical.” Check the bench height of your keyboard at home. Remember to curve your fingers all the time. You must have short fingernails to play the piano well. Notice patterns of black keys on the keyboard and how the white keys are associated. Learn notation and clap rhythms before trying to play notes. Discover your coordination and flexibility by practicing hands separately. Repetition is everything; but playing from the beginning to the end is NOT effective practice. Learn smaller portions, especially the most difficult passages. Repeat one or two measures until it feels comfortable and natural. Build your muscles with slow deliberate practice. Keep a steady beat. Using a metronome is wise. Build your knowledge by attention to details. Learn the terms and pay attention to fingerings. Financial aid is available! Call (818) 947-2412. If you are a student with a disability and require classroom accommodations, and have not contacted the Services for Students with Disabilities Office (SSD), do so in a timely manner. SSD is located in the Student Services Annex, Room 175 or call SSD at (818) 947-2681 or TTD (818) 947-2680, to meet with an SSD counselor. Please meet with me to discuss arrangements. This document can be made available in alternate format upon request from SSD at (818) 947-2681. Optional Additional Texts: Classic Themes By the Masters--Bastien KJOS WP40 $5.95 Easy Piano Classics (more advanced)--James Bastien Kjos WP42 ISBN: 0-8497-5042-3 $15.95 Finally, I strongly recommend for anyone serious about playing well: Scales, Chords and Arpeggios for Piano “The Brown Scale Book”, Frederick Harris ISBN 0-88797-785-5 So, enough of all this! Let’s have some fun and get started learning music! COURSE OUTLINE (Subject to change) Look ahead and prepare one week in advance for each class. Scale quizzes will begin about 9 PM. Week 1: February 11, 2020 GET THE BOOKS TODAY Lecture: Let’s get started: Introduction to playing the piano and reading music--Handout (corresponds to Bastien pp. 6-15, 32) Scales: Pentascale in C Major All Pentascales will be performed hands together. Memorize names of notes on the lines & spaces Rydell p. 15 line 3-4 Do Rydell p.43 “Practice Reading the Notes” Homework: learn Ode to Joy in handout or Bastien p. 12. Look ahead and prepare one week in advance for each class. Week 2: February18, 2020 Mini-Quiz at 9 PM: Pentascale in C Major Rydell p. 62 line 1 (from handout last week) NO MAKEUPS Review Week One Scales: C Major Scale Rydell p.
Load more

Recommended publications
  • Riemann's Functional Framework for Extended Jazz Harmony James
    Riemann’s Functional Framework for Extended Jazz Harmony James McGowan The I or tonic chord is the only chord which gives the feeling of complete rest or relaxation. Since the I chord acts as the point of rest there is generated in the other chords a feeling of tension or restlessness. The other chords therefore must 1 eventually return to the tonic chord if a feeling of relaxation is desired. Invoking several musical metaphors, Ricigliano’s comment could apply equally well to the tension and release of any tonal music, not only jazz. Indeed, such metaphors serve as essential points of departure for some extended treatises in music theory.2 Andrew Jaffe further associates “tonic,” “stability,” and “consonance,” when he states: “Two terms used to refer to the extremes of harmonic stability and instability within an individual chord or a chord progression are dissonance and consonance.”3 One should acknowledge, however, that to the non-jazz reader, reference to “tonic chord” implicitly means triad. This is not the case for Ricigliano, Jaffe, or numerous other writers of pedagogical jazz theory.4 Rather, in complete indifference to, ignorance of, or reaction against the common-practice principle that only triads or 1 Ricigliano 1967, 21. 2 A prime example, Berry applies the metaphor of “motion” to explore “Formal processes and element-actions of growth and decline” within different musical domains, in diverse stylistic contexts. Berry 1976, 6 (also see 111–2). An important precedent for Berry’s work in the metaphoric dynamism of harmony and other parameters is found in the writings of Kurth – particularly in his conceptions of “sensuous” and “energetic” harmony.
    [Show full text]
  • Accelerated Piano Technique and Music Theory Ii Course Syllabus
    ACCELERATED PIANO TECHNIQUE AND MUSIC THEORY II COURSE SYLLABUS Course: Accelerated Piano Technique and Music Theory II Credit: One Carnegie Unit Course Description Accelerated Piano Technique and Music Theory II is required for graduation as a vocal music major. It is for students who have completed the requirements of Accelerated Piano Technique and Music Theory I and completes the prerequisite for all other theory classes. It satisfies the Piano Lab II requirement for vocal majors and the Music Theory II requirement for both vocal and instrumental majors. This course covers the rudiments of music theory and emphasizes basic musicianship skills in the areas of sight singing, ear training, and dictation. Basic piano fundamentals are explored: familiarization with keyboard theory, hand coordination, grand staff note reading, and an introduction to the standard intermediate piano literature. Content Standards DCPS music content standards make up the core skills, concepts and knowledge for Music Theory II: 1. Perform a variety of repertoire. 2. Improvise, compose, and arrange. 3. Read and notate music. 4. Listen, analyze, and evaluate. These standards are incorporated in the course outline below. Course Outline 1. Perform all tasks covered in Accelerated Piano Technique and Music Theory I, with emphasis on reading and writing fluently in treble and bass clefs including identification, notation, reading and writing of all leger line notes above and below the staff. 2. Identify and write all major and minor key signatures; explain and construct a diagram of the circle of fifths. 3. Identify on the page and by ear, sing*, write, and play on the piano keyboard: a.
    [Show full text]
  • Promtional Sample Pages
    The Fundamental Triad System A chord-first approach to jazz theory and practice Pete Pancrazi Copyright © 2014 by Pete Pancrazi All Rights Reserved www.petepancrazi.com Table of Contents Introduction .......................................................................................................5 Chapter 1 The Simple Intervals .............................................................6 Chapter 2 The Major Keys .......................................................................13 Chapter 3 The Fundamental Triads .....................................................19 Chapter 4 Triads of the Major Scale .................................................... 27 Chapter 5 Extending the Triads with a 7th or 6th ........................... 32 Chapter 6 Extending the Triads of the Major Scale ...................... 39 Chapter 7 The 12-Bar Blues ...................................................................43 Chapter 8 Voice Leading ...........................................................................45 Chapter 9 Song Melody and the Blueprint .......................................51 Chapter 10 The Major II-V-I Progression ............................................54 Chapter 11 Compound Intervals .............................................................64 Chapter 12 Extending a Chord with a 9th, 11th or 13th ................68 Chapter 13 Modes or the Major Scale...................................................74 Chapter 14 Auxiliary Notes ........................................................................ 87
    [Show full text]
  • Harmonic Expectation in Twelve-Bar Blues Progressions Bryn Hughes
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 Harmonic Expectation in Twelve-Bar Blues Progressions Bryn Hughes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC HARMONIC EXPECTATION IN TWELVE-BAR BLUES PROGRESSIONS By BRYN HUGHES A dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2011 The members of the committee approve the dissertation of Bryn Hughes defended on July 1, 2011. ___________________________________ Nancy Rogers Professor Directing Dissertation ___________________________________ Denise Von Glahn University Representative ___________________________________ Matthew Shaftel Committee Member ___________________________________ Clifton Callender Committee Member Approved: _____________________________________ Evan Jones, Chair, Department of Music Theory and Composition _____________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above-named committee members. ii To my father, Robert David Moyse, for teaching me about the blues, and to the love of my life, Jillian Bracken. Thanks for believing in me. iii ACKNOWLEDGEMENTS Before thanking anyone in particular, I would like to express my praise for the Florida State University music theory program. The students and faculty provided me with the perfect combination of guidance, enthusiasm, and support to allow me to succeed. My outlook on the field of music theory and on academic life in general was profoundly shaped by my time as a student at FSU. I would like to express my thanks to Richard Parks and Catherine Nolan, both of whom I studied under during my time as a student at the University of Western Ontario and inspired and motivated me to make music theory a career.
    [Show full text]
  • Level 3 Scale Reference Sheet MP: 4 Scales – 2 Major and 2 Harmonic Minor
    Level 3 Scale Reference Sheet MP: 4 scales – 2 major and 2 harmonic minor 1. Play Scale (As tetrachord or one octave, hands separate or together) 2. Play I and V chords (of the scale you just played) (Hands separate or together) 3. Play chord progression (of the scale you just played): (or I-V-I) (Hands separate or together) 4. Play arpeggio (of the scale you just played): 5. Applied Theory - Intervals: Play 2nd, 3rd, 4th, 5th, 6th in the keys of prepared scales up from tonic only, using appropriate black keys www.wendyspianostudio.com 76 Level 3 SCALE CHECKLIST C Major a minor G Major e minor D Major b minor A Major f# minor # E Major c minor # B Major g minor Gb Major eb minor Db Major bb minor Ab Major f minor Eb Major c minor b B Major g minor F Major d minor 77 Level 4 Scale Reference Sheet MP: 4 keys – 2 major and 2 minor (natural and harmonic minor forms) 1. Play Scale (One octave, hands separate or together) 2. Play Primary Chords in Root position (for the scale you just played), hands separate or together. For minor keys, use harmonic form. 3. Play inversions of the tonic triad up and down, hands separate or together: 4. Play chord Progression: (or I-IV-I-V-I) hands separate or together. In minor keys, use harmonic form. 5. Play 1 handed arpeggio: www.wendyspianostudio.com 78 Level Four, continued 6. Theory - Intervals: Play 2nd, 3rd, 4th, 5th, 6th, 7th, and octave, in the keys of prepared scales, up only, beginning on any pitch in the scale.
    [Show full text]
  • Accelerated Piano Technique and Music Theory Ii) Course Syllabus
    PIANO LAB II (ACCELERATED PIANO TECHNIQUE AND MUSIC THEORY II) COURSE SYLLABUS Course: Piano Lab II Credit: One Carnegie Unit Course Description Piano Lab II is required for graduation as a vocal music major. It is for students who have completed the requirements of Accelerated Piano Technique and Music Theory I and completes the prerequisite for all other theory classes. It satisfies the Piano Lab II requirement for vocal majors and the Music Theory II requirement for both vocal and instrumental majors. This course covers the rudiments of music theory and emphasizes basic musicianship skills in the areas of sight singing, ear training, and dictation. Basic piano fundamentals are explored: familiarization with keyboard theory, hand coordination, grand staff note reading, and an introduction to the standard intermediate piano literature. Content Standards DCPS music content standards make up the core skills, concepts and knowledge for Music Theory II: 1. Perform a variety of repertoire. 2. Improvise, compose, and arrange. 3. Read and notate music. 4. Listen, analyze, and evaluate. These standards are incorporated in the course outline below. Course Outline 1. Perform all tasks covered in Accelerated Piano Technique and Music Theory I, with emphasis on reading and writing fluently in treble and bass clefs. 2. Identify and write all major and minor key signatures; explain and construct a diagram of the circle of fifths. 3. Identify on the page and by ear, sing*, write, and play on the piano keyboard: a. Major and natural, harmonic, and melodic minor scales and tonic triads in keys to four sharps and flats using accidentals as well as key signatures b.
    [Show full text]
  • 2005: Boston/Cambridge
    PROGRAM and ABSTRACTS OF PAPERS READ at the Twenty–Eighth Annual Meeting of the SOCIETY FOR MUSIC THEORY 10–13 November 2005 Hyatt Regency Cambridge Boston/Cambridge, Massachusetts 2 SMT 2005 Annual Meeting Edited by Taylor A. Greer Chair, 2005 SMT Program Committee Local Arrangements Committee David Kopp, Deborah Stein, Co-Chairs Program Committee Taylor A. Greer, Chair, Dora A. Hanninen, Daphne Leong, Joel Lester (ex officio), Henry Martin, Shaugn O’Donnell, Deborah Stein Executive Board Joel Lester, President William Caplin, President-Elect Harald Krebs, Vice President Nancy Rogers, Secretary Claire Boge, Treasurer Kofi Agawu Lynne Rogers Warren Darcy Judy Lochhead Frank Samarotto Janna Saslaw Executive Director Victoria L. Long 3 Contents Program…………………………………………………………........ 5 Abstracts………………………………………………………….…... 16 Thursday afternoon, 10 November Combining Musical Systems……………………………………. 17 New Modes, New Measures…………………………………....... 19 Compositional Process and Analysis……………………………. 21 Pedagogy………………………………………………………… 22 Introspective/ Prospective Analysis……………………………... 23 Thursday evening Negotiating Career and Family………………………………….. 24 Poster Session…………………………………………………… 26 Friday morning, 11 November Traveling Through Space ……………………………………….. 28 Schenker: Interruption, Form, and Allusion…………………… 31 Sharakans, Epithets, and Sufis…………………………………... 33 Friday afternoon Jazz: Chord-Scale Theory and Improvisation…………………… 35 American Composers Since 1945……………………………….. 37 Tonal Reconstructions ………………………………………….. 40 Exploring Voice Leading.………………………………………..
    [Show full text]
  • Y10 Music Revision
    Tempo, Metre and Rhythm BPM The number of beats per minute in a piece of music. Largo Slowly and broadly Andante Fairly slow - at walking pace Moderato At moderate speed Allegro Fast Vivace Lively Presto Very quick Accelerando Gradually speeding up Rallentando Gradually slowing down Ritenuto Immediately slower Allargando Getting slower and broadening Rubato Literally 'robbed time', where rhythms are played freely for expressive effect Time Tells you how many beats are in a bar. Two numbers at the start signature of a piece of music. Syncopation Where the rhythms are played off the main beat. Cross A rhythm used simultaneously with another rhythm or rhythms - rhythm the rhythms do not fit together, Polyrhythm A rhythm which makes use of two or more different rhythms simultaneously. Triplets A triplet is a three-note pattern that fills the duration of a typical two-note pattern. Hemiola A hemiola is a rhythmic device that gives the impression of the music speeding up. Off beats An unaccented beat. Upbeat / The last beat of the measure/bar. anacrusis Swing In swing rhythm, the pulse is divided unequally (long/short) rhythms Walking A walking bass line generally consists of notes of equal duration bass and intensity (typically 1/4 notes) that create a feeling of forward motion. Dynamics and Articulation Dynamics Dynamics are used to show how loudly to play a piece of music. Articulation Articulation is used to show how a note should be played or sung - eg staccato or slur. Sostenuto Notes are sustained or held on. Crescendo Gradually getting louder Diminuendo Gradually getting quieter Fortissimo Very loud Forte Loud Mezzo Forte Moderately loud Mezzo Piano Moderately quiet Piano Quiet Pianissimo Very quiet Sforzando A note should be given sudden emphasis, similar to an accent.
    [Show full text]
  • Structural and Ornamental Diatonic Harmony in Western Music, C.1700 – 1880
    Structural and Ornamental Diatonic Harmony in Western Music, c.1700 – 1880 Structural and Ornamental Diatonic Harmony in Western Music, c.1700 – 1880 By Zelda Potgieter Structural and Ornamental Diatonic Harmony in Western Music, c.1700 – 1880 By Zelda Potgieter This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Zelda Potgieter All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6084-8 ISBN (13): 978-1-5275-6084-0 For my students TABLE OF CONTENTS Page Preface xii Chapter 1 – Introduction 1 1.1 Theories of tonal music 1 1.1.1 Heinrich Schenker 2 1.1.2 Hugo Riemann 3 1.1.3 Arnold Schoenberg 4 1.1.4 Tension Spans 4 1.2 The Basic Tonal Sentence and an Introduction to Composing- Out Techniques 5 1.3 Assignments: Aural Development and Revision of Key Signatures 11 Chapter 2 – Structural Harmony 13 2.1 Primary and Secondary Triads: Structural Progression 13 2.2 Chord Nomenclature 18 2.2.1 Root Positions and Inversions of Triads 18 2.2.2 The Roman Numeral Scale-Degree System and Chord Character 21 2.3 Movement versus Closure: Phrase Endings and Cadences 22 2.3.1 The Authentic Cadence 23 2.3.2 The Half Cadence 29
    [Show full text]
  • The Death and Resurrection of Function
    THE DEATH AND RESURRECTION OF FUNCTION A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By John Gabriel Miller, B.A., M.C.M., M.A. ***** The Ohio State University 2008 Doctoral Examination Committee: Approved by Dr. Gregory Proctor, Advisor Dr. Graeme Boone ________________________ Dr. Lora Gingerich Dobos Advisor Graduate Program in Music Copyright by John Gabriel Miller 2008 ABSTRACT Function is one of those words that everyone understands, yet everyone understands a little differently. Although the impact and pervasiveness of function in tonal theory today is undeniable, a single, unambiguous definition of the term has yet to be agreed upon. So many theorists—Daniel Harrison, Joel Lester, Eytan Agmon, Charles Smith, William Caplin, and Gregory Proctor, to name a few—have so many different nuanced understandings of function that it is nearly impossible for conversations on the subject to be completely understood by all parties. This is because function comprises at least four distinct aspects, which, when all called by the same name, function , create ambiguity, confusion, and contradiction. Part I of the dissertation first illuminates this ambiguity in the term function by giving a historical basis for four different aspects of function, three of which are traced to Riemann, and one of which is traced all the way back to Rameau. A solution to the problem of ambiguity is then proposed: the elimination of the term function . In place of function , four new terms—behavior , kinship , province , and quality —are invoked, each uniquely corresponding to one of the four aspects of function identified.
    [Show full text]
  • Keyalities & Tonalities
    Keyalities & Tonalities The Complete Book of Arpeggios, Cadences & Scales Music Moves for Piano By Marilyn Lowe In Cooperation with Edwin E. Gordon DO Signatures The flats and sharps that give us the letter name of DO (traditionally called a ‘key signature’) is a DO signature. DO is the resting tone for Major tonality. Each DO signature represents all tonalities (see Unit 13 of this book) when the moveable DO with a LA-based-minor solfege system is used. This solfege system is the only one that fosters audiation. The resting tones for tonalities other than Major are: RE/Dorian, MI/Phrygian, FA/Lydian, SO/Mixolydian, LA/Harmonic Minor and Aeolian, and TI/Locrian. The DO signatures in this book are presented in the circle of 4ths (circle of dominants). C is DO F is DO Bb is DO Eb is DO Ab is DO Db is DO Gb is DO Cb is DO C# is DO F# is DO B is DO E is DO A is DO D is DO G is DO C is DO Music Moves for Piano Keyalities and Tonalities The Complete Book of Arpeggios, Cadences and Scales By Marilyn Lowe In cooperation with Edwin E. Gordon Music Moves for Piano is designed to develop improvisation, audiation and keyboard performance skills. The piano series builds on the ideas and theories of Orff, Kodaly, Dalcroze, Suzuki, Taubman and Gordon. © 2006, 2007, 2013, 2015 Music Moves LLC All Rights Reserved G-7056 ©2006, 2007, 2013, 2015 Music Moves LLC www.musicmovesforpiano.com [email protected] ISBN-10: 1-57999-634-5 Distributed by GIA Publications, Inc.
    [Show full text]
  • Modern Music Theory Course Notes.Pdf
    Modern Music Theory Shaun Keyt Modern Music Theory Course Summary Week 1: Scales Week 2: Rhythmic Melody Week 3: Melodic Design Week 4: Intervals & Harmony Week 5: Triads & Chord Progressions Week 6: Advanced Chords Week 7: Chord Functions Week 8: Musical Tension Modern Music Theory Shaun Keyt Week 1: Scales Key Concepts Melodic Emotion Use of particular notes in a pattern to produce particular emotion(s) Playing in Key Playing in Key means using the notes within the Scale of the musical piece The Musical Scale Definition of a Scale Defined set of notes which give a Melody a certain character Two Components of a Scale: Tonic and Mode Tonic Note: defines the note name of the Scale Mode: defines the Scale type The Chromatic Scale Characteristics of the Chromatic Scale Formula Contains all 12 semitones/notes in an octave Emotion Neutral because of its pure symmetry Distinguishing Characteristic All notes are equally spaced apart Modern Music Theory Shaun Keyt Diatonic Scales Characteristics of Diatonic Scales Description Seven distinct Pitch Classes 5 Whole Steps and 2 Half Steps per Octave Each Diatonic Scale has a Key Signature which prescribes the Intervals in the Scale Subset of the Chromatic Scale Diatonic Scale Degrees Tonic Supertonic Mediant Subdominant Dominant Submediant Leading Tone (Major scale), Subtonic (Natural Minor scale) The Major Scale Characteristics Formula T 2 2 1 2 2 2 1 Emotion Traditionally associated with happiness, celebration and jubilance Distinguishing Characteristics Major 3rd Major 6th Major 7th Modern Music
    [Show full text]