Wett, Jordan Phd Thesis Online Keyboard Harmony
Online Keyboard Harmony
Creating and assessing an online introductory Keyboard Harmony class for undergraduate level keyboard music majors
Jordan James Wett MCA, BMus(Hons)
Submitted in completion for the degree of PhD (Music) May 2015
Statement of Originality
The thesis contains no material that has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying subject to the provisions of the Copyright Act 1968.
______Jordan Wett
Acknowledgments
I would like to thank my principal supervisor, Dr. Gian-Franco Ricci. I would not be where I am today without his input and guidance, and Dr. Ian Cook for the ability to make things happen. I would also like to thank my family and friends for supporting me and knowing when it is ok to ask the question: ‘So, how is your PhD going’?
Finally, I would like to thank Associate Professor Rosalind Halton, a constant inspiration and a ‘repository of knowledge’ that Newcastle is lucky to have.
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Table of Contents Acknowledgments ...... v About the Author ...... x Abstract ...... xii Chapter 1 - The Nature and Scope of the Project ...... 1 Introduction ...... 1 Research Aims ...... 5 Chapter 2 - Literature Review ...... 9 Introduction ...... 9 Philosophical Underpinning ...... 10 Theodore Adorno ...... 10 Marshal McLuhan ...... 16 Keyboard Harmony ...... 23 A Definition ...... 23 The Study of Keyboard Harmony ...... 25 Keyboard Harmony - Glossary of Terms ...... 25 Keyboard Harmony Pedagogy ...... 36 Keyboard Harmony Pedagogues and Material ...... 42 Group Learning ...... 49 The Keyboard Harmony Classroom ...... 54 Keyboard Harmony Texts ...... 56 Post-Secondary Level Keyboard Harmony ...... 61 Research in Keyboard Harmony ...... 63 Instructional Systems Design ...... 66 ISD Models ...... 68 Instructional Video Design ...... 74 The Content Outline ...... 75 Storyboarding ...... 77 Script Writing ...... 81 The Internet ...... 83 The Internet in Australia ...... 83 The History of the Internet ...... 85 The Internet and Business ...... 86 The Internet and Education ...... 89 Online Education ...... 93 Online Learning Management Systems ...... 100 Tertiary Music Challenges ...... 104 Institutional Challenges ...... 104 Academic Integrity ...... 106 Course Conversion ...... 108 Chapter 3 - Methodology ...... 110 Introduction ...... 110 Analysis ...... 112 Design ...... 113 Development ...... 114 Implementation ...... 115 Evaluation ...... 116 Conclusion ...... 118
vii Chapter 4 - Analysis Phase ...... 119 Introduction ...... 119 Project Background and Preparation ...... 119 Teaching Challenges ...... 122 Treble position ...... 123 Letter-name chords ...... 124 Acquiring Keyboard Harmony Source Material ...... 125 Investigating Texts used at Universities ...... 126 Course Objectives ...... 127 Test Item 1 ...... 129 Test Item 2 ...... 130 Test Item 3 ...... 131 Instructional Analysis ...... 133 Test Item 1 ...... 134 Test Item 2 ...... 137 Test Item 3 ...... 140 Selecting Hardware and Software ...... 142 Hardware ...... 142 Software ...... 143 Conclusion ...... 146 Chapter 5 - Design Phase ...... 147 Introduction ...... 147 Assessment Rubric ...... 147 Lesson Design ...... 148 The Topic Outline ...... 148 Draft Version ...... 149 Final Version ...... 152 Mechanics and Chord Function ...... 155 Conclusion ...... 157 Chapter 6 - Development Phase ...... 158 Introduction ...... 158 Lesson Handouts and Practice Items ...... 159 Practice Items ...... 163 Instructional Video Creation ...... 181 Recording the Content Footage ...... 181 Recording the Performance Footage ...... 183 Camera Angle Considerations ...... 184 Additional Visual and Audio Considerations ...... 188 Conclusion ...... 193 Chapter 7 - Implementation Phase ...... 194 Introduction ...... 194 Setting up Blackboard ...... 195 Recruiting Participants ...... 197 Course commencement ...... 199 Pre-course test recordings ...... 199 Unexpected Issues ...... 201 Logging on ...... 201 Lesson Video Access ...... 203 Participant Feedback of Weekly Lessons ...... 205 Week 5 Assessment Task ...... 211 Post-Course Test Recordings ...... 212 Conclusion ...... 215 viii Chapter 8 - Evaluation ...... 217 Introduction ...... 217 Formative Evaluation ...... 218 Course Evaluation Considerations ...... 218 Criteria Changes ...... 220 Summative Evaluation ...... 221 Course Results ...... 221 Question 1 pre-course and post-course test results ...... 222 Question 2 pre-course and post course test results ...... 225 Question 3 pre-course and post-course test results ...... 227 Overall pre-course and post-course test results ...... 229 Participant Feedback ...... 230 Chapter 9 - Conclusions ...... 236 Research Findings ...... 240 Discussion and Further Research ...... 243 Appendices ...... 246 Appendix A ...... 247 National Broadband Network ...... 247 Appendix B ...... 252 Recruitment Related Documents ...... 252 Participant Recruitment Form ...... 252 Participant Consent From ...... 256 Conservatorium Enrolment Form ...... 258 Appendix C ...... 260 Lesson Planning ...... 260 Draft Version ...... 260 Final Version ...... 262 Appendix D ...... 264 Story Boards ...... 264 Appendix E ...... 339 Video Commentary Transcripts (Weeks 1-10) ...... 339 Appendix F ...... 362 Course Content: Weeks 1-12 Lesson Notes and Work Sheets ...... 362 Appendix G ...... 383 Pre and Post-course test Marking Rubric ...... 383 Appendix H ...... 384 Pre-Course/Post-Course Test Reports ...... 384 Appendix I ...... 407 Summary of email responses ...... 407 Bibliography ...... 411
ix About the Author
Coming from a performance oriented background, it was Keyboard Harmony that offered the biggest insight into what could be achieved with my piano playing. This led to an obsession of analysing and discovering the harmonic techniques used by great composers to confidence in public performances. This deeper understanding of the music helped to reduce the severity of performance anxiety, something that plagues many musicians.
Being a private piano teacher, as well as having taught in the tertiary education system, it was evident that the area of Keyboard Harmony is not commonplace in many piano players music education prior to a music degree. It was evident after teaching private and tertiary students aspects of Keyboard Harmony in the one- to-one and group lessons that students abilities and appreciation for their solo repertoire improved.
Another insight observed as a music teacher is the declining trend of students studying classical music. This has given rise to many popular music programs and courses with a greater emphasis on performance at the expense of theory. This change in focus from classical to popular music is not necessarily a bad thing. There are many features to popular music that are harmonically similar to classical music. The problem is if you take away, or reduce the amount of theoretical components to a music degree and only focus on performance, then you are restricting the potential musicians can reach.
This has led me to believe the future and direction of music at the tertiary level is uncertain; however, one aspect that appears certain is the growing popularity of online education. During my time teaching at university, the way information was delivered to students was changing. Handouts were rarely provided because students access them online and print them out individually. Students went from performing their assessments in-class to assessments being recorded and submitted electronically for certain subjects in their degree. Feedback from lecturers was commonly given via online exchanges.
Student attitudes were also changing. Students regularly missed or were late for classes I was teaching because of their employment obligations, clashes with other classes (students enrolled in a double degree) or traffic problems for students who did not live nearby. This led to an increase in students sending emails inquiring how to go about particular tasks from the classes they missed, or for extensions and private help regarding assessments.
If students could access everything they needed in the online environment many of these problems might cease. I was not aware of any program or institution that offered Keyboard Harmony as a stand-alone or integrated course using the Internet to deliver it. Combining this with a modern lifestyle using the Internet
x and the obvious trend of many businesses and service providers moving to online delivery, the foundation for researching Keyboard Harmony online began.
xi Abstract
Online education is gaining momentum as a viable alternative to in-class tuition. However, the use of an exclusively online method presents challenges to music education because the practical ‘hands on’ approach to learning between teacher and student is lost. At the University of Newcastle, piano students were required to attend Keyboard Harmony classes as part of their degree program. The introductory keyboard harmony class taught techniques designed to assist students by developing a greater understanding of the repertoire they learn by deconstructing diatonic harmonic progressions used in the Western tonal- tradition of music. These techniques include sight-reading, transposition, improvisation and harmonic analysis. This paper discusses the development and feasibility of running a Keyboard Harmony class solely in an online environment using pre-recorded learning video and live one-to-one video conferencing with participants who have volunteered to take part. The course was delivered over a university semester for students to access online (through the University of Newcastle online learning centre, Blackboard). Participants were assessed using a pre- and post-course Keyboard Harmony test delivered using Skype, which was then recorded and analysed. Results are used to determine how effective the course was in terms of achievement, improvement and to serve as a discussion point for the effectiveness of learning keyboard online. Questionnaires, feedback and email interactions with the participants were used to determine how participants responded to the course features. It is hypothesised that the outcome of this research will help to justify continued research into music education and more specifically, piano tuition, in the online environment.
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Chapter 1 - The Nature and Scope of the Project
Introduction
The Study of Keyboard Harmony is highly practical for all levels of piano study. Aural acuity will be heightened by functional harmonization. For anyone using the piano, from the grade school teacher harmonizing simple tunes, to the performer grappling with late Beethoven, a firm sense of harmony in a practical keyboard application is vitally needed. (Banowetz, 1977, p. 311)
Keyboard Harmony is an essential tool for helping keyboard players of all musical styles. A Keyboard Harmony class is traditionally taught with a teacher able to give immediate feedback and assistance to students. Keyboard Harmony exposes students who play a keyboard instrument to harmonic elements based on theoretical concepts in Western tonal music. They include playing and transposing chord progressions, harmonising melodies or bass lines, and improvising in a variety of different musical styles. It is often taught in a classroom environment as part of a music degree or program at universities and colleges.
Many universities offer entire degrees to be completed in the online environment. There has been a significant increase in the availability of online tertiary education over the past decade. The online subjects offered cover a broad range and provide students with access to accredited education. It also
1 reveals a shift in student attitudes regarding online learning (Allen & Seaman,
2007)(Knowles & Kerkman, 2007).
There are few tertiary institutions offering entire music degrees solely online.
There are numerous music-related courses as well as post-graduate degrees available (Groulx & Hernly, 2010). These do not have any musical performance1 elements assigned to the course. Some examples of these courses and degrees include:
• Music Appreciation - students are taught how to listen and better
appreciate music at a fundamental level.
• Music Theory courses - offering in-depth learning of theoretical
components of tonal music.
• Music Education degrees – where the student has the opportunity
to obtain qualifications, enabling accreditation to teach in primary
and secondary schools.
It is clear some of the components of a music degree can be delivered entirely online. Courses such as music theory, musicology and composition are core components of a music degree. Institutions such as Berklee Music Online, JMC
Academy and Open University2, offer these courses in an online environment.
Accreditation in the form of a diploma can be acquired; however, they do not offer the full degree online.
1 Such as a performance recital in front of an audience. 2 These institutions were found by doing a search in Google for ‘online music courses’.
2 There are many reasons as to why music degrees are not offered online. The discussion over teaching online as opposed to teaching in the traditional classroom is still an evolving area of research over all subject areas. Teaching online programs at universities requires a shift in teaching paradigms and appropriately trained staff in developing successful online programs might not be available (Dykman & Davis, 2008) (Cole & Kritzer, 2009). The viability of a fully online music degree is open to debate because of a lack of convincing research (Leibowitz, 2003) (Tallent-Runnels M. K., et al., 2006).
The very nature of learning a musical instrument online can cause problems if a teacher is unable to interact with a student. Important aspects of higher-level learning can be compromised for many instrument types. Fast and technically difficult passages, bowing issues for string players, posture and arm/finger movement for piano players, and tuning and embouchure issues for wind players are more difficult to address when being delivered online through the use of video conferencing software (Criswell, 2009).
The scant number of online degrees could be explained by conflicting attitudes among music educators on the viability of this medium for two main reasons: the ability to demonstrate the mechanics of playing an instrument through the physical interaction with the student, and the acoustics being faithfully reproduced is hindered. Regardless of the reasons, research is crucial in all areas of practical components of a music degree to establish what works and what does not work effectively in the online environment.
3 It is my belief the continual improvement in technology and the Internet will stimulate an increased demand for music degrees being delivered entirely online.
Therefore there is a need for investigating practical online music courses. This thesis investigates the processes taken in creating and delivering a Keyboard
Harmony class in the online environment.
4 Research Aims
My aim in this research project is to determine what is required in creating and implementing an online Keyboard Harmony course and to establish whether it is feasible to do so. Feasibility, in this context, is viewed from two perspectives. The first looks at the feasibility of creating the course. This will be established by following the processes and observations made during the courses’ creation, as well as discussion surrounding time management considerations. The second perspective looks at the feasibility of implementing the course. This will be established by assessing participant involvement, assessment results, and feedback.
The course will be implemented through Blackboard, an online learning environment, at the University of Newcastle. It will briefly observe alternative possibilities for creating an online course for individuals who might not have the backing and access to resources at a music institution. It is anticipated the observations made will help to ascertain whether or not there is evidence to warrant further study in the area of online Keyboard Harmony. This will be done by:
• Following the steps taken by the author to create and implement an
online Keyboard Harmony course.
• Comparing the Keyboard Harmony tests undertaken by participants who
volunteered to be part of the project.
• Using participant feedback during and after the course to determine the
course’s strengths and shortcomings.
5 The significance of this research asserts the importance of acquiring Keyboard
Harmony skills being delivered solely online. This is a relatively new approach in delivery in comparison to traditional in-class methods. Its primary focus is to determine whether this is feasible by following processes adopted in creating and delivering the online course.
Research in the area of Keyboard Harmony courses is relatively scant, and it is hypothesised this project will contribute to a larger pool of data relating to online undergraduate music degree. The benefits of this research, however, are not limited to the field of online tertiary music education. Identifying the processes involved in creating an online Keyboard Harmony course might be applicable to private music studio teachers as well as non-tertiary music schools.
6 Research Limitations
This research does not focus on the interpretation of any quantitative data because of the small number of participants. It employs a qualitative methodology and focus on observational differences between pre- and post- course test recordings and participant feedback. These recordings have been included on DVD 1 and 2 accompanying this thesis.
Blackboard, the online learning environment used by the University of Newcastle, will be used to deliver the course to participants. No alternative online learning environments will be used; however, alternatives will be discussed as potentially viable alternatives for independent researchers.
This project does not aim to prove or disprove any benefits of learning in the online environment in comparison to in-class learning. Establishing whether or not keyboard techniques can be successfully established in the online environment is essential before evaluating whether or not it is as effective as traditional methods.
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8 Chapter 2 - Literature Review
Introduction
This literature review opens with a discussion of the philosophical basis influencing my decision to investigate a method of combining technology with music education. It then attempts to describe tertiary Keyboard Harmony by identifying and defining components found in a typical Keyboard Harmony class, as taught in Australian Universities. Elements of Keyboard Harmony are found in course material for pianists, ranging from beginner to advanced level of proficiency and, as such, numerous pedagogical music education programs that are taught around the world will be explored.
This chapter contains an overview of significant contributions in the area of instructional design, instructional video design, and course design. These areas are investigated in order to create a Keyboard Harmony course following a clear and defined instructional path using existing design methodologies. Finally, this review analyses the online environment in respect to Keyboard Harmony and music education. Exploring various websites and online courses offering piano and Keyboard Harmony related instruction offers insight into trends of how music education is delivered.
9 Philosophical Underpinning
The subject of Keyboard Harmony focuses on harmonic practices in the Western tonal tradition. A Keyboard Harmony course does not usually include any work on the harmonic practices of the early twentieth century and thereafter, where traditional harmonic practices are abandoned. Atonalism, serialism, and bitonality are examples of harmonic practices that are not usually found in
Keyboard Harmony courses except at levels considered to be advanced theory for music students, such as students studying composition.
It could be assumed that few musicologists practicing in the field of European music theory disagree with the continuing practice of the Western tonal tradition in music education. One historical figure of the twentieth century who stands out as an opponent of this practice, however, is the German theorist and writer,
Theodore Adorno. The following section provides a brief overview of Adorno’s musical mindset to provide an opposing view to continuing the Western tonal tradition in music education.
Theodore Adorno
Theodore Adorno (1903-1969), musicologist, sociologist and philosopher, based his writings on the belief that music is a tool that can shape social consciousness.
Music by the masters3, as Adorno defined them, is beneficial for society. Adorno viewed popular music such as Jazz or ‘Tin Pan Alley’ music, commonly accepted to describe the popular music of the late nineteenth century in New York, as
3 These composers included Stravinsky, Schoenberg, Berg, Webern and composers from the ‘Second Viennese School’.
10 being counter-productive for society’s progress. This rather radical and controversial view of music saw composers such as Stravinsky and Hindemith, who were neo-classical in style, as evaders of ‘true music’ because they reverted back to forms and harmonic structures that had already been established and exploited in previous musical periods (Witkin, 1998, pp. 1-2)(Adorno, 1958).
‘True music’ falls under a framework of music value. At the top end of this framework, music should both be engaging and challenge human awareness, while undermining the ‘false consciousness’, a term used by Adorno in his publication Philosophie der Neuen Musik (Philosophy of Modern Music, 1958) to describe ones intuitive perception of the world being determined by social totality (O'conner, 2013, p. 200).
This particular philosophical perspective of music is parallel with Adorno’s other philosophical views, asserting music is akin to language. Music should be embedded with unique characteristics as each musical phenomenon reminds of something contrasting itself with something or arouses our expectations
(Adorno, 1956, p. 6). Musical progress should therefore be without monotony and structural/harmonic complacency. It should avoid established musical practices devised to create excessive familiarity.
Adorno and fellow sociologist/philosopher Max Horkheimer (1895-1973) were part of the ‘Frankfurt School’, a group of researchers associated with the
Institute for Social Research in Frankfurt am Main, Germany. They were most notable for the application of Marxism in conjunction with radical
11 interdisciplinary social theory. They coined the term ‘The Culture Industry’, which referred to the effect of Capitalism entrenched economic policy, resulting in the mass production of desired social products – popular music, for example - through different media. The belief was that mass production led to people feeling content and satisfied when acquiring or consuming the product, and yet bringing with it the problem that life was not actually enhanced by the product.
It was the portrayal and marketing creating a desire for the product that led to the belief the product was a necessity for contentment (Horkheimer, Adorno, &
Noeri, 1947, p. 167) (Horkheimer, 1972).
Adorno categorised these desires into ‘true’ and ‘false’ needs. ‘True needs’ were defined as activities or endeavours where creativity was explored and resulting in the satisfaction with one’s life. ‘False needs’ are products or activities resulting in the belief that one needs them in order to be happy. The Culture Industry’s increased creation of ‘false needs’ made distinguishing them from ‘true needs’ became increasingly difficult (Bernstein, 1991, p.28).
One popular music genre subjected to constant scrutiny by Adorno was jazz.
Adorno saw jazz as another result of the Culture Industry and attributed it to being another means of control characteristic of mass industrial and mass political modernity. In Adorno’s paper entitled On Jazz (1936), provides an overview of his perspective that decodes the social function of jazz, being nothing more than dance music (Adorno T. , 1996, pp. 470-495).
12 Critics of Adorno’s treatment of jazz, as an inferior derivative of what classical composers had established, have sometimes branded Adorno’s view as elitist.
This critique refers to Adorno’s claim that this style of music contributes to the regression of society as it is laden with the influence of the Culture Industry. A more reflective approach could see jazz as just that: a reflection of ‘the colour and pulse of life’ during the time of its prominence in the first half of the 20th century (Witkins, 1998, p. 160). Witkins dismisses the elitist branding of
Adorno’s scrutiny of jazz because he considers Adorno’s scrutiny should be viewed in a general context, analogous with his treatment of mass culture. It was therefore essential for Adorno to deconstruct assertions made regarding jazz being labelled as modern art music. These assertions justify his sociological analysis of the effects and commodification of the Culture Industry; jazz’s
‘marketability permeates its production’ (Witkins, 1998, pp. 162-163).
By the middle of the twentieth century, Adorno remained steadfast in his view, according to which the emancipating function of music had been lost. Popular music, according to Adorno, was a commodity, a product to be exchanged. Music was losing its capacity to foster human action and interaction, instead becoming standardised and losing its ability to nurture musical individuality and critical thinking (Adorno, 2002, p. 335).
Critical thinking ‘examines assumptions, discerns hidden values, evaluates evidence, and assesses conclusions’ (Myers & Ludwig, 2003, p. 11). The lack of critical thinking, regarding music of the Culture Industry, is evident in popular music’s reuse of basic structures, forms, chord progressions and melodic ideas.
13 Popular music was regularly repackaged and resold under a different label with the underlying goal being a commercially driven product (DeNora, 2003, p. 17).
The application of Adorno’s views to a twenty-first century context have led to a re-evaluation of them, suggesting that he was perceptive to a greater extent than he could have possibly imagined during his lifetime because of the rapid evolution of technology. It is difficult to contradict this notion that music today is a commodity as much as it is an art form. Technology has helped influence the way music is written, recorded, delivered, perceived and taught. Its effect on the masses encourages adoration and idolisation of proponents of popular music to the extent where individuality and critical thinking are often substituted by a sense of conformity and passive listening.
Adorno’s view of the passivity promoted by popular music, especially jazz dance music, the popular music of his time, could be regarded as particularly insightful.
This view, though articulated with regard to jazz, could be seen as all the more valid in the twenty-first century context.
This in itself is not a new function of music but rather the manner in which it is used. Music throughout history has been used as a social lubricant. However, up until the beginning of the twentieth century, music was always performed live because recordings did not exist. It allowed listeners to engage with music and provide opportunity for the musicians to adjust their performance in their surroundings, e.g. playing faster or slower, softer or louder, depending upon the circumstances at the moment of the performance.
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Whether this is viewed as accurate, pessimistic or ludicrous, Adorno’s arguments
‘enlarge our whole perspective on the relationship between music and society’
(Witkin, 1998, 3). His insights into music and how it functions opens up discussion as to the effects music has on society. In his book Adorno on Music,
Witkin’s refers to the critique on Adorno by Harold Blumenfeld’s, in which
Blumenfeld states:
Adorno – always provocative, sometimes provoking – places the musical act under a scrutiny, which is at once exhaustive and multidimensional. His critique remains unexampled in terms of the sheer multiplicity of vantage points from which it probes its subject. Rooted in Hegel, Marx and Freud, his thought is often complex and complicated in expression (Blumenfeld, 1991, p. 263).
These discussions help to heighten our awareness of the role of art music in terms of its reception, both past and present. ‘Classical music’, in a broad sense, refers to music up until the globally available ‘popular music’ of the twentieth and twenty-first centuries and is, in essence, an acoustical art form. It does not rely on electronic amplification and imagery such as spectacular stage lighting, with the exception of opera productions. This is not necessarily a point to be viewed negatively; instead it assists, potentially, to create a metaphor as to the role of music in society. The future of music is impacted by the influence of technology.
15 Marshal McLuhan
Marshall McLuhan (1911-1980), a philosopher in communication theory, reveals an awareness of the effect that technology has on the individual and society.
Mcluhan identifies that this effect often goes unnoticed and acts like a silent existentialist. From his book Understanding Media, McLuhan writes about ‘the medium’ being ‘the message’. McLuhan presents his understanding of how technology affects us beyond what can be perceived as obvious. The personal and social consequence of any technology is the resultant change experienced from the ‘new scale’ that has inadvertently been introduced from this technology or extension of one’s self (McLuhan, 1973). Before discussing the meaning of his aphorism, ‘the medium is the message’, it is important to clarify what he is implying by both ‘medium’ and by ‘message’ and its relationship to media, so as to not obscure McLuhan’s meaning.
Conventional views on McLuhan’s use of the term ‘medium’ have sometimes defined it as ‘the mass-media of communications - radio, television, the press, the internet’ (Federman, 2004) and, for the most part, this view is accurate. The medium is any agent whereby change ‘emerges’ or is conveyed; however, it is the term ‘message’ that leaves room for confusion with the term ‘medium’ when contextualised by McLuhan.
The ‘message’ is often mistaken for ‘the content’ of the medium. The message is the ‘change or pace or pattern it introduces into human affairs’ (McLuhan, 1973, p. 16). In the various examples McLuhan uses to describe this point, he mentions
16 IBM (International Business Machines). The ‘content’, from a business perspective, is for IBM to produce and sell computers and business equipment.
The message, however, in this context, is that they were actually in the business of processing information with an understanding of how to ‘navigate with clear vision’ (McLuhan, 1973, p. 17) in both their prosperity and the effect they were having beyond selling goods. The message conveyed here is the effect a medium
(i.e. technology) has on our lives and not its content. Examples that can be used to demonstrate this are computers. Computers enable faster processing of information on a remarkable scale and thus eliminating time and space as a factor in information exchange.
Television is another example where its content and effect can be confused. In an example of television news broadcasts, Federman makes the distinction between the effect of the content and the effect of the message:
The message of a newscast about a heinous crime may be less about the individual news story itself — the content — and more about the change in public attitude towards crime that the newscast engenders by the fact that such crimes are in effect being brought into the home to watch over dinner (Federman, 2004).
In a present-day context, the effect of television is an area where many sources, from governmental to commercial, seek to exploit how their message is delivered to a targeted audience. Shock tactics can be used where the point of the advertisement is not to promote the product but rather affect the viewer in a way where the viewer remembers the product.
17 Another example where McLuhan explains the medium being the message is the railway. The railway did not change the function of transportation, to get from point A to point B, but it did change the pace of transportation, which subsequently changed the pace of construction and the range of people who could travel. This resulted in faster expansions of cities, with both production and construction times becoming more efficient (McLuhan, 1973).
Music can also be used as an example to illustrate McLuhan’s ideas. The medium shapes and controls the extent of the involvement and action humans wield, and the message is the resultant change. When a pianist performs a piece of music, the medium is the piano and the means, or ‘technology’, used to produce a structured sound. The ‘content’ is what is being produced; the sound of a piece of music and the message is how the music affects us.
McLuhan divides media into two categories, labelled ‘hot’ and ‘cold’ media because of varying levels of involvement. "Any hot medium allows of [sic] less participation than a cool one, as a lecture makes for less participation than a seminar, and a book for less than a dialogue" (McLuhan, 1973, p. 25). ‘Hot’ media is considered as having high involvement but low stimulus, akin to watching a movie at a cinema where attentiveness is critical to encapsulate the meaning of the content. ‘Cold’ media, conversely, are considered as having low involvement but high stimulus, similar to ‘reading’ a comic strip or watching television, where a person is required to concentrate to extract meaning or value.
18 With today’s technology, however, watching a movie relates closer to a ‘cold’ media because of the ability to watch it at will (e.g. DVD) and not in its entirety should any moment be missed. ‘Cold’ media are described as a level of involvement enabling a person to ‘detach’ themselves from it, with McLuhan controversially, implying that cold media has been derived from jazz and popular music (McLuhan, 1973, pp. 30-31), a view analogous with Theodore Adorno, although McLuhan did not view this concept as autocratically as Adorno.
Media may be seen as a tool that allowed people to connect quicker, and thus reducing the ‘size’ of the world:
Since the inception of the telegraph and radio, the globe has contracted, spatially, into a single large village. Tribalism is our only resource since the electro-magnetic discovery. Moving from print to electronic media we have given up an eye for an ear (McLuhan , 1973, pp. xi-xiii).
The idea of the world being a close, interconnected village has more impact today than it did in McLuhan’s time. The Internet and computers, much like
McLuhan’s reference to ‘railway lines’ and ‘trains’, have changed society with the ability to transport mass amounts of content from one station to another. Over the past decade, the accessibility and affordability of fast Internet has made this a daily occurrence. The Internet and computers can be accessed for leisure, shopping, banking, social networking, studying and education. The Internet can be accessed as both ‘hot’ and ‘cold’ media. It is dependent on the user and how they interact or detach themselves from it.
19 The Internet as ‘hot’ media regarding online learning sees a student engaging in the necessary subject matter while thinking critically about what they are reading in order to formulate original ideas. The Internet as a ‘cold’ media sees a student reproducing, without further enquiry and question, the facts as presented on the Internet.
This polarity presented by the Internet is a factor in the discussion for and against using the Internet as a means for distance education. Daniel Sturgis states in his essay that the most common criticism of distance learning (be it online or not) is:
Students miss out on face-to-face interaction, not only with the teacher, but with other students as well. Distance learning might seem no better than reading a book, but a lot more expensive. One is paying a hefty premium, not for better education, but for credentials (Sturgis, 2008, p. 72).
Sturgis acknowledges that some people retain and decipher course material more effectively through auditory means, some through reading the material themselves and for others, a combination of the two. For this reason, some students may perform to a higher standard using the Internet for distance education. The idea of students receiving a subpar learning experience because of a lack of interaction with students and staff is slowly becoming discredited.
This is discussed later in this chapter under online learning.
The Internet and computers being used for online learning serves those who learn more effectively in this environment; those who positively engage with
20 instructional material displayed on a computer screen. The educational use of this technology is not necessarily a means to improve education. It allows for a user-oriented experience primarily determined by their level of engagement.
The abundance of technology in music education has changed the way musicians learn with regards to learning experiences. This is a scenario that has evolved from, but not limited to, efficiency measures; doing more with less. An online
Keyboard Harmony course may efficiently reach more people, send identical content that a student would get in a classroom, and provide convenience of working time. It does not guarantee, however, that the quality of what is learned, and the longevity of the learner experience is maintained. Social interactions and a sense of community within a classroom are absent or are weakened in the online environment. Being mindful of utilising technology because of its convenience is important in order to avoid creating a Keyboard Harmony course that does not factor these key elements that are missing from the in-class environment.
The following section examines Keyboard Harmony instructional material and its common features. Keyboard Harmony is defined for these purposes as a fusion of music theory and practice dealing with harmonic concepts in the
Western tonal traditional. These concepts are then applied to a keyboard instrument5, most commonly the piano.
5 These include Pipe Organ, Harpsichord, Clavichord and Electric Piano.
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22 Keyboard Harmony
This section discusses definitions of Keyboard Harmony and its components as well as how it is commonly taught in both the one-to-one and group settings.
Different music learning methods and notation systems for harmony are investigated because these learning methods impact how students perceive their studies in Keyboard Harmony. By looking at the history of group tuition, the differing opinions from leading piano pedagogues outlining the advantages and disadvantages of group tuition are considered and discussed. The section concludes with a detailed outline of relevant Keyboard Harmony material used in this study as the basis of the project content, as well as highlighted research that has been undertaken in relation to elements of Keyboard Harmony.
A Definition
Keyboard Harmony can be defined as an in-depth study of practical music theory6 at a keyboard instrument. In the context of this study, it is a means to assist pianists in dealing with material both fully and partially notated in order to better understand a musical language (Scott, 1961, pp. 112-113). It consists of learning material aiding in the development of sight-reading, harmonisation, improvisation and ultimately, performance. The study of Keyboard Harmony is traditionally used to assist in the understanding of music from the baroque period to the modern era. Keyboard Harmony achieves this through the reduction and expansion of the music’s chord structure. This assists with musical
6 Music theory and musicianship (which has a strong focus on aural training), is the study of music in the Western tonal tradition and its fundamentals; pitch, modality, consonance and dissonance, rhythm, chords, melody, harmony, texture, expressive qualities and structure.
23 analysis, technical ability, and confidence in a public performance setting providing a greater sense of enjoyment at the keyboard (Walton, 1955, pp. 53-
56).
David Barnett, author of The Performance of Music, compares this method of reduction to analysing English grammar:
The idea of reducing a passage to simpler terms is the keystone of all types of musical analysis. It is comparable to the method of diagramming sentences that uses oblique lines to connect adjectives, adverbs, and clauses on a lower line to the subject noun and the predicate verb on a line (Barnett, 1972, p. 43).
In this passage, Barnett draws an analogy to Heinrich Schenker’s method of musical analysis7. The ability to reduce and expand music using its chord elements is seen within this concept as being strongly related to understanding other elements of Keyboard Harmony including transposition or improvisation.
7 Heinrich Schenker (1868-1935) was a music theorist known primarily for his work New Musical Theories and Fantasies, which looked at harmonic analysis in three guises: The background, middle ground and foreground. The foreground is the work, as a whole, presented by the composer, but through harmonic analysis, one can understand the structure of the middle and background parts through harmonic reduction.
24 The Study of Keyboard Harmony
Keyboard Harmony is often studied by practicing a wide variety of repetitive drills and exercises, highlighting the hierarchy8 of harmonic movement. While the exact order of this hierarchy may vary between educators, these exercises are commonly introduced in the form of chord progressions using the primary chords. According to the majority of Keyboard Harmony and theory texts explored for this project, the primary chords are introduced first, being the Tonic
(I), Subdominant (IV) and Dominant (V and V7) chords. Secondary chords are then introduced when a secure understanding of the primary chords has been established. Secondary chords are the Supertonic (ii), Sub-Mediant (vi) and
Mediant (iii) chords. These eventually lead to the introduction of advanced chromatic harmony and chord techniques such as diminished seventh (vii) and secondary dominant chords (V/V) (Aldwell & Schachter, 1978)(Pilling, 1950)
(Lyke, 1993)9
Keyboard Harmony - Glossary of Terms
This section begins with key definitions of the components of Keyboard
Harmony to provide context of the literature reviewed.
Chord progressions are short excerpts of music requiring the pianist to play a series of chords with particular attention to their position, i.e. in root position or
8 While it is debatable as to which order chords should be introduced, the Tonic and the Dominant chords are the most important chords in Western music and thus are taught first. 9 These are examples of Keyboard Harmony authors that introduce chords in this order.
25 in an inversion, and to the key signature. Chord progressions are typically realised in a four-parts, which are also referred to as voices. The aim of these exercise are to establish or contradict a foundation for a tonal centre and to become familiar with practices in tonal music. The use of chord progressions is arguably the most important aspect of teaching the fundamentals of Western music. Other components of Keyboard Harmony can be taught with the assistance of chord progressions. These will be discussed later in this section.
There are two main styles that are be used to notate chord progression exercises.
These are commonly referred to as ‘Keyboard’ and ‘Chorale’ styles. Keyboard
Harmony exercises are more commonly notated in the Keyboard style. It uses one note in the left hand (bass clef) and three notes in the right hand (treble clef) forming a triad. Occasionally, the Chorale style is used in Keyboard Harmony exercises. The Chorale style uses two parts in the treble clef (soprano and alto parts), and two parts in the bass clef (tenor and bass parts) (Aldwell & Schachter,
1978, pp. 64-68)
Tonal centre is the term given to music where pitches of a key relate the tonic note. The tonal centre is based on a major or minor scale and reinforced through the use and repetition of tonic and dominant. The dominant chord creates tension that is resolved when moving to the tonic chord. This resolution creates a ‘centre’, around which all other chords move. The absence of a tonal centre, where pitches do not relate to a tonic note or are used impartially, creates a musical situation referred to ‘atonal’ music (Oxford Music Online, 2011).
26 Understanding tonal centres is a key component to understanding the work
covered in Keyboard Harmony.
Chord progression exercises that reinforce a tonal centre are common in a
Keyboard Harmony class. The complexity of these progressions will increase as a
student’s knowledge of the rudiments of harmony develops. Beginner exercises
introduce students to dominant seventh chords and their inversions, while more
advanced exercises make use of chromaticism and alterations of diatonic chords.
The following figures are examples that illustrate a simple and a more advanced
level chord progression in a Keyboard style. The first example includes all
inversions of the dominant seventh chord resolving with correct voice-leading to
the tonic10. The second example employs a combination of secondary dominant
chords, augmented sixth chords, neighbouring chord techniques, altered
dominant chords and suspensions.
[Title] Score [Subtitle] [Composer] [Arranger]
4 œ œ œ œ œ œ œ œ w & b 4 œ œ œ œ œ œ œ œ w Piano
? 4 œ œ b 4 œ œ œ œ œ œ w
Figure 1: Chord progression without chromaticism
10 Voice leading is the term used of the individual notes of a chord, moving smoothly, without large intervallic leaps, to the individual notes of the next chord.
27
Figure 2: Chord progression with chromaticism
Both examples establish a tonal centre using tonic and dominant chords. The first example is based entirely on tonic and dominant chords; however, the second example uses a wider variety of chord changes. These changes affect the harmonic colour of the excerpt11.
Transposition of chord progressions to various tonal centres is a common exercise in Keyboard Harmony to help reinforce chord relationships. Figures 1 and 2 can be transposed into all major and minor keys. Mastering the skill of transposition assists in working within the key of a chord progression as well as the ability to transpose music other than notated chord progressions, such as pieces of notated music, and labelled chords instead of notated chords. The ability to recognize and transpose chord progressions quickly and accurately has a wide set of applications, in particular when piano accompanists are sometimes required to spontaneously transpose and sight-read music (Grinnell, 2008)
(Fisher, 2010).
11 Colour is referring to the combination of major, minor, augmented and diminished chords, as well as chords with added dissonance.
28 Sight-reading is a skill that has no precise method to ensure improvement
(Lehmann & Ericsson, 1996). There are multiple facets, however, to improving sight-reading skills such as rhythmic and melodic shape recognition exercises, as well as Keyboard Harmony (Harris, 1991, p. 1). Keyboard Harmony improves sight-reading skills by helping the pianist to recognise harmonic patterns and sequences12. It helps with the recognition of the shapes attributed to notated chords and their inversions. This reduces the time needed to recognise patterns and allows more time to decipher rhythmic complexities. This is crucial for efficient sight-reading because mistakes in pitch often lead to mistakes in rhythm
(Lowder J. E., 1973).
A typical Keyboard Harmony exercise to develop sight-reading is score reading.
This skill requires the pianist to reduce a full score by transcribing and playing a piece of music that is not written for piano, such as a string quartet score. It requires the pianist to read multiple clefs, including the alto clef. This encourages pianist to think both intervalically and harmonically because score reading can rarely be fully realized at the piano note-for-note perfect. Therefore, a good understanding of harmonisation is a link in determining what chord sequence is being implied (Johansen, 2000, p. 43).
Harmonising is a skill requiring an understanding of both harmonic language and harmonic rhythm. Harmonisation is the adding of chord tones to a melody or bass line. Harmonic rhythm is a stylistic concept focusing on the frequency of
12 Sequences are chord progressions that follow the circle of fifths movement.
29 harmonic changes. In order to harmonise effectively, an understanding of both
the construction of chord progressions and harmonic rhythm is required.
Not every note of a melody or bass line needs to be harmonised. Passing,
neighbouring, and auxiliary notes13 are often used to create shape and variety in
a melody or bass line but do not need to harmonised. The relevance of each
melodic or bass tone needs to be examined in relation to the rest of the tones as
well as the tonal centre of the example. Figures 3 and 4 are example of two
differing harmonisations of the same melody. Figure 3 has every melodic note
Scoreharmonised, whereas the Figure 4 t uses a crotchet and minim harmonic rhythm. t t t
4 œ œ œ œ œ & 4 œ œ œ œ œ #œ œ œ #œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? 4 œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ
Figure 3: Every note of the melody being harmonised
The chords used in Figure 3 to harmonise the melody makes the example sound
relatively complicated and might thus be criticised as busier than it needs to be.
This is not necessarily a problem if that is the desired effect; however, it is
important to be aware of what needs to be harmonised versus what can be
harmonised.
13 These are notes that move between different voices of chords, either diatonically or chromatically to create colour, but do not necessarily warrant their own harmonisation.
30
©t Score t t t t
4 œ œ œ œ œ œ œ œ œ œ œ œ & 4 ˙ œ œ œ ˙ œ œ œ œ ? 4 ˙ œ œ ˙ œ 4 ˙ œ œ ˙ œ œ
Figure 4: Harmonising to allow for non-chord tones in the melody
The chords used in Figure 4 to harmonise the same melody allow for non-chord
tones to be included with the harmonic progression.
Improvising is the ability to spontaneously play or modify music with little or no
musical notation or planning14. It was a means of playing music before the
invention of musical notation and it serves as a useful tool for any musician, not
just pianists. Many of the well-known composers of keyboard music were highly
skilled improvisers, including Bach, Mozart, Beethoven, Liszt, Brahms and
Scriabin (Alcantara, 2011).
One can improvise in many different ways such as playing melodic material over ©t chord progressions in numerous styles. It can be rhythmically simple or complex
and incorporate a variety of textures to suit different settings. Improvisatory
skills were a requirement for keyboard players during the baroque and classical
periods because music notation was often displayed as music shorthand, known
as figured bass15. Figured bass was the system used in composition training up to
14 In this context, improvising is based on harmonies that are typical of the western tonal tradition and not atonal music. Although this is an important aspect in improvisation as a whole, it is not relevant to Keyboard Harmony. 15 Figured bass is a form of musical shorthand that uses numbers to represent the intervals from the given bass note. This indicates the chord and its inversion.
31 at least the end of the nineteenth century. Today, it is common-practice for keyboard players to improvise from lead-sheets16. A lead-sheet presents a melody accompanied by chords symbols to indicate the harmony for the pianist to fill in by playing chords in a variety of ways, relevant to the style of music being performed (Dryen, 2001).
Chord symbols have a variety of representations that include figured bass,
Roman numerals and chords by letter names (Nivans, 2011). Chord symbols are a form of shorthand used to substitute traditional musical notation of a harmonic progression. Figured bass, as mentioned before, uses numbers and accidentals to indicate a chord and its inversion. Figured bass requires musical notation, a bass line, for it to be accurately deciphered. Roman numerals work in a similar manner to figured bass. They are an analytical tool and convey similar information as Figured Bass but in a different format related more to indicating function rather than individual chord content. Roman numerals indicate specifically which scale degree the chords are built, thus not requiring any notation. Upper-case Roman numerals indicate major chords and lower-case indicate minor chords. Roman numerals use numbers as well to indicate inversions and added dissonances, such as sevenths.
Letter name chords use a single letter to indicate the root note of the chord by the same name. An upper-case letter ‘A’ indicates a major chord whereas a lowercase ‘a’ followed by ‘m’ or sometimes ‘min’ indicates an ‘a minor’ chord.
Numbers are used to indicate added dissonances but use another letter to
16 The terms ‘chord chart’ and ‘lead sheet’ are interchangeable.
32 indicate the inversion. The chord name ‘Am’ is followed by a ‘/c’ to indicate an ‘a minor’ chord in first inversion ‘am/c’.
These differing chord symbols each have a unique function, and an understanding of each is useful for pianists in different situations. Chord symbols using their letter name are useful because of their function in modern music, both popular and classical/art music. Instances where the music is very chromatic or occasionally atonal can be better realized with chords by their letter name because harmonic progressions would be unrealistic to use Roman numerals alone17. Roman numeral chord labelling is intrinsically linked with diatonic progression, and therefore a piece of music that does not use a tonal centre, but is based on triadic harmony, is easier to decipher with letter name chords.
Letter name chords in jazz and pop music are a quick way to realize chords without the need for a high level of piano technique. This method of chord labelling uses pitch names as the basis for major and minor triads. This means that a ‘C’ represents a C major chord and a ‘Cm’ represents a C minor chord. For additional dissonances, such as a 7th, or modifications, such as a suspension, numbers and letters are added next to the letter-name chord to indicate which additional pitches are added to the major or minor chord.
Music educator Wayne Scott describes in his article Keyboard Harmony from
17 Atonal in this instance refers to music that has no discernible tonal centre but still uses tonal chords. This does not refer to atonal music that is completely absent of a tonal centre as in the 12-tone music of Arnold Schoenberg.
33 Chord Symbols the importance and relevance of letter name chord symbols:
Professional studio pianists regularly read and realize from chord symbols music, which could not possibly be negotiated from any other abbreviated notation. Practically every publisher of public school songbooks now includes chord symbols for accompaniment purposes. Ukulele and guitar tablatures are all but obsolete, having been replaced by the chord symbol (Scott, 1961, p. 113).
This statement highlights, either at the professional or intermediate level, that understanding and practicing chord symbols by their letter name is integral to playing piano. The following figure is an example of how a pianist could play a series of chord symbols using letter names and music notation.
am E7/B am dm am/E E7 am
Figure 5: Letter-name chords displayed as traditional music notation
When only chord symbols are given, there are numerous possibilities as to how they can be played, and this reinforces the importance of improvisation. In the example above, the right hand starts with an ‘a minor’ chord in second inversion.
This could have started in any other inversion, which would then affect how the rest of the progression is played. Only crotchet chords are used in this example but since there are no indications as to how these chords are to be played, it is at the discretion of the pianist to play it in a particular style. Playing in a wide
34 variety of styles requires a strong understanding of stylistic features, piano literature and performance practice in different musical genres (Houle, 1999, p.
22).
The components constituting a typical Keyboard Harmony course can be reduced into the following:
• Chord Construction and playing in both hands (progressions) • Clef Reading • Score Reading • Chord Symbol Realization • Improvisation (White & Lake, 2002, pp. 84-101)
Each individual area of Keyboard Harmony complements the development of other areas. Practicing chord progressions in different keys helps with both chord playing and transposition, which can help with harmonisation.
Transposition helps with sight-reading, as can sight-reading help with transposition. The study of Keyboard Harmony can be considered as a beneficial way to improve a pianist’s ability at the instrument.
Keyboard Harmony is often taught from the beginning of learning a keyboard instrument; however, it may be presented in a manner that is not always obvious or explicit. The next section provides an overview of examples of established music programs containing elements of Keyboard Harmony. It is important to recognize that these beginning stages have many different approaches affecting musical understanding (Burton & Taggart, 2011, p. 3). It highlights the significance of Keyboard Harmony when learning piano by identifying several important piano pedagogues and their treatment of Keyboard Harmony material.
35
Keyboard Harmony Pedagogy
Beginning piano students, particularly young children, are sometimes introduced to music learning methods and courses before or at the start of one-to-one lessons. These methods are usually taught in a group or class setting. Learning methods are important to consider because they affect the way in which a beginner thinks about music in general. Some learning methods prioritize basics in Keyboard Harmony while others exclude it almost completely. Examples of some of these teaching methods that have elements of Keyboard Harmony include the following.
Kodaly Method
This method of learning, founded by Hungarian Musician Zoltan Kodaly (1882-
1967), encourages music learning from the earliest age, with an initial focus on learning through the use of hand signs, solfege and singing native folk songs of the students’ nationality. The music aligns to the national folk songs of the child, or good-quality composed music, which is music bridging the gap between folk and classical music. The use of hand signs is a visual representation of the solfege system (Choksy, 1999, p. 61) (Fisher, 2010, p. 155).
One of the benefits of the use of solfege is that it helps with transposition. Using a movable ‘do’ approach, the Kodaly method uses ‘do’ as the tonic, irrespective of the key. If the key of a melody was in ‘C’ major, then ‘do’ would be ‘C’. If the key was in ‘D’ major’, then ‘do’ would be ‘D’. This is in contrast to the fixed ‘do’, where
36 if the key of a melody was in ‘C’ major then ‘do’ would be ‘C’, but if the key was in
‘D’ major than ‘do’ remains ‘C’ (Choksy, 1999).
The ability to transpose is a central component of Keyboard Harmony, and the
Kodaly method introduces beginners to this skill. The Kodaly method uses a
‘sound before sight’ approach that incorporates transposition, where children learn music by ear before seeing it using musical notation. This follows a similar learning theory developed by Johann Henrich Pestalozzi (1746-1827), a Swiss educator who observed through his experiments that children learn best by
‘doing’ an activity rather than listening a teacher describe how to do the activity, which became known as ‘concrete before abstract’. (Neumann, 2006, pg. 49)
There are elements of the Kodaly method that can be compared with elements of
Keyboard Harmony. These include an emphasis on transposition and the hands- on approach to learning harmonic concepts through repetition and an aural awareness of the task.
Orff Method
Renowned German composer, Carl Orff (1895-1982), believed in the importance of movement and rhythm, and the Orff Method is subsequently embedded with these traits. Students are encouraged to engage with stories or poems musically, and use musical instruments, usually percussion, to represent characters or themes. This introduces children to learning about different textures and styles in music and the fundamentals of accompaniment.
37
The Orff Method encourages improvisation in an environment where making and learning from mistakes is seen as a part of the creative process. Students engage in improvisation after they have a basic understanding of the learned concepts. The approach to improvisation is based on the idea that it should be drawn or inspired from somewhere and not be a random erratic rhythmic or melodic exercise. The improvisation should then evolve and develop into something unique. There are two distinct categories where improvisation can be placed. ‘Evanescent improvisation’ refers to the type of improvising that is spontaneous and gone as quickly as it came. ‘Fixed improvisation’ is where there is a consistent element underpinning the improvisation. This could be an ostinato rhythmic pattern or chord progression and, through familiarity, improvisation occurs and develops over it (Parker & Humphries, 1978) (Thomas,
1980).
Improvisation is a key component of a Keyboard Harmony class in most systems, and developing this skill is essential to further career prospects in music. While this improvisation is not directed at a keyboard instrument in the Orff method, it encourages exploration and creativity when applied to a keyboard instrument.
Dalcroze Method
Emile Jaques–Dalcroze (1865-1950) established a method of learning music through encouraging students to express what they hear through movement,
38 with particular attention being given to rhythm. The Dalcroze Method has three main areas. These are:
§ Eurhythmics – physical movement as a means of musical
expression and demonstrating musical understanding.
§ Solfege – synthesizing syllables with pitch for the
development of sight-singing and aural training.
§ Improvisation – spontaneous creation of music using voice,
instruments and movement.
Sharing similarities with the Kodaly and Orff Methods, the unique aspect of this method is the emphasis on eurhythmics. This is the physical embodiment of what it is being heard. Children are encouraged to physically express their experience of music and how it makes them feel. This is applied to individual concepts of music, such as structure and texture. During a ‘happy’ section of music, children may jump up and down and have increased movement speed around a room. During a ‘sad’ section of music, children may walk around sombrely and at a slower speed. This kinaesthetic understanding of music is a form of improvisation allowing children to express how they hear music
(Campbell & Scott-Kassner, 2013, pp. 48-49).
The Dalcroze Method provides a general overview of concepts covered in
Keyboard Harmony. Solfege can assist with developing transposition skills and,
39 as with the Kodaly and Orff Methods, encourages creative exploration through improvisation.
Suzuki Method
Originating in Japan for violin, the music learning method created by Dr Shinichi
Suzuki (1898-1998) is one that can be applied to the piano and stresses the importance of parental involvement in the home. It focuses on individual tuition, as well as group tuition. Comparing the acquisition of musical ability to a child’s native language, Dr Suzuki believed that all children should be regarded as intrinsically musical and achieve musical expression through exposure to good music from birth and a positive encouraging learning environment (Suzuki,
1973).
This method discourages the reading of musical notation until the student has had adequate time and practice with their instrument. The comparison, again, can be made with language where that children learn to speak before they learn to write and spell. There is a strong emphasis on learning through listening to recordings and repetitive practice, while being attentive to musical detail
(Suzuki, 1973).
There are clear points of approach that could be applied from the Suzuki method to Keyboard Harmony. When practicing Keyboard Harmony exercises, it is the aural acuity of the student that guides their practice when developing their skills.
40 Yamaha Method
Similar to the Suzuki Method, one of the more directly related learning methods to Keyboard Harmony is the Yamaha Method. Created by Genichi Kawakam
(1912-2002) in Japan, the Yamaha Method involves teaching children in groups and discourages competitiveness with music. The main focus is on musicianship and aural concepts, rather than a particular instrument/s, though piano/keyboard is used a tool to learn about musical concepts. Students learning through the Yamaha Method learn how to harmonise and compose their own music using the primary triads I, IV and V (7). Students learn and perform with their classmates assisting with reducing anxiety when performing in front of others outside of the class.
As these differing approaches to music education show, the nascent concepts of
Keyboard Harmony manifest in various forms. The most exploited concept in these music-learning methods is improvisation. This is because of the ease in which children can contribute without requiring a high skill level and without being discouraged for ‘mistakes’. These methods, however, can have a significant impact into the understanding and association with Keyboard Harmony.
Many aspects of Keyboard Harmony require a work principle based on repetitive practice and listening. When learning chord progressions, for example, repetitive practice of short excerpts is required. Through this practice, students can develop the ability to hear if the progressions and transpositions they are playing are correct. Even though none of the aforementioned music learning
41 methods encourages sight-reading musical notation - an important aspect of
Keyboard Harmony - they do encourage observing and listening to harmonic progressions in music.
Keyboard Harmony Pedagogues and Material
Aspects of Keyboard Harmony have their importance emphasised throughout history in treatises and essays by leading pedagogues of different eras. The emphasis of these writings is often on performance technique, fingerings and stylistic features such as the execution of ornamentation. Within these works, however, are contributions to the development of Keyboard Harmony. The following section will look at some of these contributions up to and including the nineteenth century18.
French composer and pedagogue Jean Philippe Rameau’s (1683-1764) treatise on Harmony has influenced much of the way we label harmonies today. He wrote two treatises, Méthode sur la mecanique des doigts sur le clavessin (Method on the
Mechanics of Fingers at the Harpsichord) and Code de musique pratique
(Practical Music Guide), regarding harpsicord playing and how to play at the instrument. It was his Traité de l'harmonie réduite à ses principes naturels
(Treatise on Harmony Reduced to Its Natural Principles, 1722), however, that has lasting influence that is most noticeable in Keyboard Harmony and classical music in general. This Treatise is divided into four books with Book II focusing on the nature and properties of chords. His contributions to Keyboard Harmony,
18 These are outlined in The Well-Tempered Keyboard Teacher (Uszler, Gordon and Smith: 2000) pages 273-307.
42 particularly how we label and identify chords, including the idea that the Tonic,
Dominant and Sub-Dominant are the building blocks of tonality (Rameau, 1722).
It is in the German treatise writers that we find an approach to keyboard harmony learning closely matched to the ideas traditionally taught in conservatories of music. Friedrich Wilhelm Marpurg (1718-1795) was a German pedagogue who is known for his two works, Die Kunst das Klavier zu spielen (The
Art of Playing Keyboard Instruments, 1762) and Anleitung zum Klavierspielen
(Introduction to Playing Keyboard, 1755). In particular, The Art of Playing
Keyboard addresses keyboard accompaniment, including important aspects of harmony and voice leading (Cornell, 2002). Similarly he stresses the importance of transposition for students in this book by stating ‘Here I remind you that an industrious scholar must transpose these and the following examples to all keys, if he wants to be able to make use of them’ (Marpurg, 1762) (Marpurg,
1755)(Cornell, 2002, p. 1).
C.P.E Bach (1714-1788) was the author of one of the most influential books on keyboard playing in the eighteenth and nineteenth century, Versuch über die wahre Art das Clavier zu spielen (Essay on the True Art of Playing Keyboard,
1753). It was written in two parts where the first part addresses technical issues of keyboard playing in the performance style of the time. The second part addresses what is essentially some of the material taught in a Keyboard
Harmony class. This includes music theory, composition, improvisation and different styles of accompaniment (Bach, 1753).
43 As the construction of keyboard instruments, including the piano, changed, so too did the literature and aesthetics on keyboard playing. Daniel Gottlob Türk
(1756-1813) wrote a substantial essay entitled Kurze Anweisung zum generalbaßspielen (Brief Guide to Figured Bass, 1791), offering detail in the practice of Figured Bass, which was an art form in decline at the time
(Damschroder, 2008, p. 281). Other works such as the Klavierschule oder
Anweisung zum Klavierspielen (School of Piano and Instruction in Piano Playing,
1789) includes a large section devoted to improvisation (Berkowitz, 2010, p. 20).
This publication sits on the cusp of what can be considered the end of the old school of keyboard playing, the eighteenth century style of playing, and the start of the new school of playing in the Romanticism of the nineteenth century and is considered as important as C.P.E Bach’s essays (Magrath, 1995, p. 112).
Austrian Composer Carl Czerny (1791-1857) renowned for his etudes for piano was a pedagogue who based his teachings around Beethoven and Clementi. His notable contribution to Keyboard Harmony was his publication on improvisation.
Entitled Systematische Anleitung zum Fantasieren auf dem Pianoforte (A
Systematic Introduction to Improvisation on the Pianoforte)19, it includes examples of improvisatory introductions by other composers, as well as original examples, to be mastered and transposed in order to gain insight into the art form. Czerny states, ‘whoever possesses a thorough knowledge of harmony can easily indulge in the most interesting ventures in this respect’ (Czerny, 1983, p.
11).
19 Also referred to as The Art of Improvisation, or The School of Extemporaneous Performance.
44 One of the more significant names of the nineteenth century piano pedagogues was Franz Liszt (1811-1886). Known throughout Europe as a virtuoso performer and composer, he was also an avid teacher and regularly gave master classes in the latter part of his life (Walker A. , 1997, p. 419). Liszt stressed the importance of patience and repetitive practice after the score had been thoroughly analysed, both harmonically and rhythmically, away from the piano. In order to do this, an in-depth understanding of music theory is required. Auguste Boissier’s diary contains a transcription of what Liszt said to her daughter during a master class on mastering performance abilities. Liszt’s words were:
Invent nuances and, if possible, new combinations; in this way you will find yourself prepared for any occasion. And if you add to all this the study of harmonisation, the study of modulations, or to vary the exercises by using the modulations possible, you will have seized the art by its
fundamental principles and you will be capable of doing everything
(Boissier, 1832).
It is clear from teachings such as this that Liszt highly valued Keyboard Harmony as much as technical mastery. Liszt stressed the importance of practicing scales and arpeggios, but he also encouraged the use modulation of technical exercises, as well as the use of unconventional fingerings to encourage more freedom with finger and thumb passage-work (Uszler, Gordon , & Smith, 2000, pp. 290-291).
45 Piano Methods and Keyboard Harmony Elements
The rise in popularity and affordability of the piano during the 20th century was met with an abundance of piano literature from a multitude of pedagogues. In particular, publishers in America sought newer, more modern approaches to piano teaching, departing from the available European literature. As a result of this, many new piano methods were published, some of which are still used today.
The following Table is a chronological look at some of the main publications in piano methods released throughout the twentieth century for American music studios.
1913 William Sherwood Sherwood Music School Piano 1916 Dorothy Gaynor Blake MelodyCourse Book 1918 Diller-Quaile First Solo Book 1919 Thaddeus B. Giddings Giddings Class Piano Readers 1924 John Williams First Year at the Piano 1926 Helen Curtis Fundamental Piano Series 1927 Louise Robyn Technic Tales 1928 Schelling, McConathy, Oxford Piano Course Haake, and Haake 1936 John Thompson Modern Piano Course 1937 Burrows/ The Adult Explorer 1941 BurrowsAhearn/Biake/Ahearn The Young Explorer at the Piano 1941 David Hirschberg Technic Is Fun 1945 John Schaum Pre-A Book 1946 Hazel Cobb This Way to Music 1950 Leila Fletcher Piano Course
1950 Edna Mae Burnam Dozen a Day books 1954 Ada Richter Pre-School and Kindergarten Book 1955 Frances Clark Look and Listen series 1956 Ada Richter The Older Student 1958 Donald Waxman Pageants 1959 Edna Mae Burnam Piano Course 1961 Robert Pace Music for Piano; Skills and Drills 1962 Hazel Cobb All Over the Keyboard 1963 Jane and James Bastien Music Through the Piano 1963 Guy Duckworth Keyboard Explorer, Discoverer, 1964 June Weybright BuilderBelwin Piano Method 1965 Pace/Konowitz Jazz I, 2 1967 David Carr Glover David Carr Glover Piano Library 1969 Lyke/Elliston/Hartline Keyboard Musicianship: Group Piano
46 1971 Robert and Helen Pace Music for Moppets 1973 Frances Clark The Music Tree 1973 Walter and Carol Noona Mainstreams in Music 1974 0lson/Blickenstaff/ Piano Discoveries; Activities; Piano Bianchi Solos 1976 Elyse Mach Contemporary Class Piano 1978 Yamaha Music Education Primary Course (English edition) System 1978 Shinichi Suzuki Suzuki Piano School (English) edition) 1979 Jon and Mary Gae George Artistry at the Piano 1980 Chronister/Kraehenbuehl Keyboard Arts Method 1980 Stecher/Horowitz et a! Keyboard Strategies 1981 Palmer/Lethco/Manus Alfred's Basic Piano Library 1983 Palmer/Lethco/Manus Alfred's Basic Adult Course 1985 Jane and James Bastien Bastien Piano Basics 1985 Hilley/Olson Piano for the Developing Musician 1991 N. Jane Tan The Well-Prepared Pianist 1993 Randall and Nancy Faber Piano Adventures 1993 Lori, Lisa, and Jane Bastien Invitation to Music 1995 Joy Carden Carden Keyboard Ensemble Series 1996 Kreader/Kern et a!. Hal Leonard Student Piano Library 1997 Alexander/Gordon/Thurmon Music Thru MIDI
1999 Barden/Kowalchykl Music for Little Mozarts
Table 1: Different piano learning methods in the twentieth century
This table of publications from around the world, compiled by Timbrell and
Chappell (1999), is indicative of popular publications of the time. The list draws attention to the growing canon of literature for learning piano. It also indicates that students and teachers respond differently to the structure, layout and content of the books on learning piano.
Important elements of Keyboard Harmony are present in many of the piano method publications listed in Table 1. Transposition, chords and their inversions, chords built on their scale degree, chords labelled with Roman Numerals and by their letter name, chord progressions involving chords I, IV and V, and chord reduction techniques are included in the beginning stages of several methods
(Thompson, 196?, pp. 26-27) (Clark , Goss, Holland, & Sale, 2001, pp. 10-48)
47 (Waterman & Harewood, 1973, pp. 36-37) (Faber, Faber, & McArthur, 1997, pp.
14-40) (Wiegratz, 2001, pp. 10-50).
The content explored is similar in many publications. They approach learning the piano from a tonal or diatonic perspective, as opposed to non-tonal or atonal. It is how they are visually presented that varies the most, and this is usually determined by the targeted audience. If children are the target audience, then the publications use simple language and are often decorated with colourful and playful illustrations, making them visually stimulating (Clark , Goss, Holland, &
Sale, 2001) (Thompson, 1955) (Barden, Kowalchyk, & Lancaster, 2010)
(Danielsso, 2010). Conversely, publications targeting adults often use formal language to explain learning material and are, overall, less visually stimulating
(Waterman & Harewood, 1973) (Wiegratz, 2001) (Palmer, Manus, & Lethco,
1983) (Aaron, 1985).
Despite the differing approaches based on the targeted audience, many beginner piano method publications introduce material in a similar manner. Introductory material often requires the student to construct and play different diatonic intervals and basic triads in the early part of their learning20. As mentioned earlier, these are usually following a tonic (I) and dominant (V) format in the key of C major. Simple major and minor scales, which expose students to scale degrees, are often introduced soon after work with static hand positions and thumb passagework. This is an important consideration when presenting
20 This usually depends on the target audience. Adult beginner books generally introduce triads much sooner than children’s beginner books. This is most likely due to physical limitations of a child’s hand span/strength.
48 material specifically for Keyboard Harmony students. How and what they have learned at the start of their tuition could have a large impact on how they will respond to material presented in a Keyboard Harmony class.
Group Learning
A student learning a musical instrument that only requires one-line of music to read, such as brass, woodwind and string instruments have been able to do so in a group setting for a longer period of time than piano. The portability of these instruments plays a crucial role as to why this is. Learning a keyboard instrument in a group has only been become a feasible endeavour in recent times due to the affordability and portability of the digital piano. Presumably the idea of group piano lessons has developed from group lessons involving one-line instruments.
A group lesson can be considered as having the number of students ranging from three to ten, whereas a class can range from ten to thirty students (Skaggs, 2004, p. 265). These benefits of one-to-one lessons and group lessons have been the subject for debate regarding which is more effective and beneficial. Both have their advantages and disadvantages. These range from the amount of individualized attention being given by the teacher and feedback from peers, to monetary considerations for tuition.
One-to-one tuition is traditionally the most common means of delivering piano tuition. With improvements with digital technology, however, group lessons
49 have become an increasingly viable and affordable alternative. Group lessons have been taught by some of the great names associated with piano (Fisher,
2010). This is an essential area of discussion for this paper because this research project is a subject traditionally taught in a classroom but will be delivered in a learning environment using both one-to-one and group learning elements.
Learning piano and aspects of Keyboard Harmony in a group or class first dates back to 1815 in Ireland where Johann Bernhard Logier pioneered this method of teaching. Logier argued the group setting was ideal for transferring theoretical concepts and applying them to the piano. Logier can be considered the inventor of the Keyboard Harmony class (Fisher, 2010, p. 3). Logier taught large classes of students ranging from beginner to advanced pianists. Beginners would play simple melodies while the more advanced students would play variations based on the melodies being played by the beginner pianists. Logier also had his students performing in front of the other students (Kowalchyk & Lancaster, 1998, p. 3) (Richards, 1962).
Group teaching was conducted by the some greatest pianists in history, such as
Franz Liszt, usually in the form of a master class. The master class itself is often attributed to being created by Liszt (Walker A. , 1997, p. 228). This type of tuition, however, did not gain much popularity as a primary means of learning piano for various reasons. The technological advances of the piano allowed for more complicated repertoire to be written/learned requiring a more focused, individual approach to learning. Arguably, the main reason for the lack of emphasis on group tuition was lack of equipment. This is because only the
50 wealthy could afford pianos and piano tuition. Tutors would go to the residence of the wealthy for private tuition, and it was uncommon for the dwelling to have more than one piano (Baker-Jordan, 2003, p. 269).
Despite these hindrances, group tuition still spread throughout Europe and eventually to America. By 1889, group piano instruction was being promoted as being a valuable and enjoyable educational tool by the U.S. Office of Education and this eventually led to the development of class piano programs in schools across America, which included programs focusing on elements of Keyboard
Harmony (Fisher, 2010, p. 3) (Skaggs, 2004, p. 275).
There are numerous pedagogues pioneering group tuition. Frances Clark (1905-
1998) founded ‘The New School for Music Study’ and she was an advocate for both individual and group tuition, believing the most important part of piano tuition is the preparation of the teacher. Clark’s approach saw how new concepts are introduced to students through a group setting. The students then have individual lessons to further consolidate these concepts and to correct any technical issues occurring (The Frances Clark Centre For Keyboard Pedagogy,
2010) (Fisher, 2010, p. 6).
Guy Duckworth pioneered the group lesson doctorate degree program, where students studied and received lessons in groups only. His publications emphasise group learning of functional skills: transposition, improvisation, playing by ear and mirroring (Coats, 2006, pp. 126-127). Duckworth had many successful students who learnt via group tuition. This helped to solidify the position of
51 group teaching as a valid method of piano pedagogy. This success, however, was met with negative reactions from other piano pedagogues. Duckworth was quoted as saying:
I have experienced teachers’ anger and outrage at the very thought of teaching advanced students in groups […] their rage had to do with the manner in which my student was taught – in a group21 (Baker-Jordan, 2003, p. 271).
Since the middle of the twentieth century, however, group piano tuition has been accepted as a respectable and effective means to further piano tuition. This led to the development of the ‘keyboard lab’ design by the Wurlitzer Company. This design is based on the principle that students have access to their own electronic keyboard (Rudolph, 2004, p. 331). Research in social psychology reveals that learning in a group can be beneficial. Following the Group Dynamics Principles can enhance desired outcomes from group or class tuition. This set of six principles assist teachers in facilitating groups. They are :
1. The group aids in problem solving.
2. The group leadership is most efficient when it is participatory.
3. Group participation lessens inhibitions, whereas individual playing
develops self-esteem.
4. The group depends on each individual to do their part.
5. The group functions most efficiently with a spirit of cooperation.
6. The group is a medium of change.
(Coats, 2006, pp. 134-135)
21 This was in relation to the success of one of his students in a piano competition.
52
The common factor embedded in these principles is participation. These six principles do not relate specifically to Keyboard Harmony; however, they can aid in a successful learning environment in a Keyboard Harmony classroom.
Whether or not these principles can be applied in the online environment, however, is a challenge to be addressed.
53 The Keyboard Harmony Classroom
A Keyboard Harmony class typically consists of ten or more electric pianos arranged in such a manner that enables the teacher to engage with students. This arrangement of pianos can have an effect on learning. In beginner piano classes, it is crucial for teachers to be able to see the hands of the students to ensure correct hand position and technique so they can correct them promptly. One possible setup is to align the electric pianos back-to-back in a straight row where the teacher sits with their piano perpendicular at one end of the row, enabling them to see the student’s hands (Baker-Jordan, 2003, pp. 278-280).
For a Keyboard Harmony class at the tertiary level, it is less important for the teacher to see the hands of the students because it can be assumed they already have a sufficient standard of technical ability. What is necessary, though, is for the teacher to be able to hear students to ensure they are performing the required tasks correctly. This involves a setup where everyone, teacher and students, uses headphones and the students practice and play the tasks without audibly distracting each other. The teacher, using a group controller, is able to select individual students and hear them play and have the student hear the teacher play without other students hearing them. The teacher can setup the controller so that everyone can hear an individual play an example or excerpt, which is useful for class discussion and encouraging a positive learning environment (Rudolph, 2004, pp. 336-337). The following Figure 8 is a top view diagram of the ten-keyboard classroom setup taught at the University of
Newcastle in 2011:
54 ! Teacher!
Student! Student!
Student! Student!
Student! Student!
Student! Student!
Student! Student!
Figure 6: Keyboard Harmony classroom layout
The examples and exercises used in a Keyboard Harmony class will vary, as it is common practice for teachers to use material from the resources available to them. By referring to a variety of texts, a teacher can select the material they deem appropriate to demonstrate the concept being taught. With careful consideration as to what the current trends and the desired learning outcomes are, a teacher can structure each lesson appropriately.
55 Keyboard Harmony Texts
Creating an online Keyboard Harmony course involves identifying content and learning trends in various music theory and Keyboard Harmony publications.
Music theory and Keyboard Harmony texts share a common knowledge base. For this reason, I felt it necessary to research both types of texts to identify shared trends and how music theory impacts on the success on Keyboard Harmony application. The following section will look at Keyboard Harmony texts that were explored for this project.
One of the earliest Keyboard Harmony related workbooks that was explored for this research project was by R. O. Morris in his book entitled Figured Harmony At
The Keyboard (1933). Morris recalls that harmony while he was young was taught almost exclusively by figured bass. For this reason, Morris’s book is devoted to the teaching of harmonic principles, harmonisation, improvisation and voice-leading principles through figured bass examples alone. The start of each chapter highlights what is to be learned with examples notated in a keyboard style with the remaining work in each chapter exploring figured bass examples in a wide variety of keys. This book also covers exercises on accented and unaccented passing notes, anticipatory notes, simple ornamentation as well as double and triple suspensions (Morris R. O., 1933).
Introducing the keyboard students to tonic and dominant harmony is an approach that is adopted by Kenneth Simpson in his book Keyboard Harmony and Improvisation (1963). Rather than begin at C major, Kenneth chooses to start at G major. The chapters then introduce the primary chords (I, IV, V), the key of g
56 minor and further tonic and dominant work in five different keys. The keys that are explored are the most common keys used within the context of the keys used in song books, which Kenneth identified after analysing over four hundred song books. New diatonic chords are introduced towards the end of the book with the final exercises covering material on chord sequences and patterns (Simpson,
1963).
The Keyboard Harmony Workbook Music for Keyboard Harmony by Robert
Melcher and Willard Warch (1966), similarly introduces the student to tonic and dominant chord exercises as a starting point. It progressively adds new diatonic chords much earlier in the book, however. Each new chord is explored through a series of folk melodies, improvisation, sight-reading, and continuo exercises. The book finishes with a series of chapters on secondary dominant harmony and modulation to different keys. The material in each chapter makes use chord progressions to practice using both keyboard style notation and figured bass examples that require harmonisation in a chorale style. There are also melodies to harmonise, and accompaniment figures to practice and analyse. The examples given, as with Kenneth’s figured bass exercises, assumes the reader is not an absolute beginner to piano (Melcher & Warch, 1966).
Keyboard Musicianship by David Bray (1997) leaves harmonisation until the the end of the workbook, instead introducing the student to transposition at the beginning. This is in contrast to the aforementioned Keyboard Harmony authors above who introduced harmonisation at the very beginning of the workbook.
57 These transposition exercises begin as one note melodies, requiring transposition to the dominant, subdominant, and a tone away. The remaining chapters include work on cadences and score reading. The score reading examples include work on the alto and tenor clef. An interesting point Bray makes at the conclusion of the text relates the voice leading, specifically parallel fifths and octaves. Bray states:
Being aware of all these ‘rules’ is difficult when playing harmony at the piano, especially if you are creating an accompaniment at sight. The first requirement is to make music: worry about the ‘rules’ later. As your ear grows more acute you will hear when your harmonizations include parallel movement in either fifths or octaves which are not appropriate to the style and you will begin to develop ways of harmonizing which avoid them (Bray, 1997, p. 80).
Ensuring a student has a proper foundation in some of the key concepts and terminologies used in Keyboard Harmony is essential. The texts investigated have assumed a competent level of playing ability at the piano, given the difficulty of the opening exercises. These may be too difficult to play or understand for a student with less experience. Tonal Harmony for the Keyboard
(1989) introduces students to explanations on scale degree names and numbers, interval and chord nomenclature, chord inversions, tonal hierarchy (chord functions), harmonic rhythm, and improvisation. This is followed by basic keyboard drills, such as rhythm exercises, five finger exercises, chord spacing chord inversion exercises. The approach taken by Wittlich and Martin is that diatonic harmony is hierarchical and should be approached as such. Therefore, harmonisation work begins with the tonic and dominant chords, and other diatonic chords, beginning with the subdominant and supertonic, are introduced
58 afterwards. Each chapter includes work on improvisation, harmonisation of melodies and cadences. The book ends with modulations to far-related keys as well as dominant chords with added dissonances. (Wittlich & Martin, 1989).
Sol Berkowitz uses improvisation as a means to teach Keyboard Harmony in his book Improvisation Through Keyboard Harmony (1975). Berkowitz takes the position that improvisation is largely practiced jazz musicians over a regular, repeated harmonic progression, rather than than larger classical forms, such as a cadenza in a concerto. The book opens with preparatory exercises with intervals before moving into exercises with the tonic, dominant and dominant seventh chords. The harmonisation exercises begin with three chord (tonic, dominant, tonic) exercises in various keys before providing written, harmonised, examples of simple melodies, such as ‘Mary had a Little Lamb’ to demonstrate how melodies can be harmonised. Numerous exercises are then provided that require the student to either improvise melodic material in the right hand with left hand chords, or in the left hand with right hand chords (Berkowitz S. , 1975).
A common feature in both the music theory and Keyboard Harmony texts is the overall structure of the content. Most of the music theory texts that were searched for this project, however, begin with exercises in scales and intervals, rhythm and metre, and/or basic triads and their construction before moving in to exercises in harmonisation. An assumption needs to be made as to the level of skill a student will have obtained before engaging exercises (Dale, Jacob, & Anson,
1940) (Goldman, 1968) (Berkowitz S. , 1975) (Horton C. , 2000) (Gauldin, 2000)
(Aldwell & Schachter, 1978) (Scholes, 1974) (Diller, 1936-1947) (Lyke, 1993).
59
I have drawn several conclusions from looking through these texts. In order to introduce keyboard students to diatonic harmony at the keyboard, preparation in chord playing would be needed, especially considering the potentially widely varying levels of student’s playing ability. This means a series of exercises and drills would need to be created to help students meet the physical and technical demands of playing chord progressions.
Another conclusion is that some texts follow a philosophical approach similar to
Schenkerian thought (Wittlich & Martin, 1989)(Gauldin, 2000). Rather than introducing the diatonic harmonies numerically or by their inversion, harmonies are introduced according to their inherent hierarchical placement in the Western tonal tradition. This is an area of study, however, more commonplace in a music theory or music appreciation course; that is, a course that does not has a practical component. It is an area of study that is not instrument specific. For this reason, Schenkerian analysis is not considered as part of the learning material for the course.
Introducing students to Schenkerian analysis might be considered too complicated for an introductory course in Keyboard Harmony. Schenkerian analysis would be more appropriate at a later stage in a third year Keyboard
Harmony course. Participants would be better equipped to understand harmonic functions after developing skills in chord playing and basic chord progressions, a precursor to understanding harmonic functions.
60 Further details about the influences the aforementioned texts had on the creation of the course are discussed in the later chapters.
Post-Secondary Level Keyboard Harmony
Several texts specifically relating to teaching music theory at the post-secondary level were sought to improve the understanding of how and what should be taught in Keyboard Harmony class.
Guidelines for College Teaching of Music Theory by John White explores modern trends in how music theory has been taught at tertiary level over the past 25 years. White considers Keyboard Harmony a course for all music majors, with pianists having an obvious advantage in the execution of practical skills. It specifically references topics taught within the keyboard classroom. These are:
• chord construction and playing in both hands (progressions)
• clef reading
• score reading
• figured bass realization
• improvisation (White, 2002, pg. 84-101)
Michael Rogers’ book Teaching Approaches in Music Theory similarly looks at music theory for all music majors and keyboard classes. Keyboard classes have often been taught as part of a music theory class because both are a means to
61 help non-keyboard majors develop their basic keyboard skills but, more importantly, as a means to reinforce conceptual skills (Rogers, 2004, p. 69-70).
This is the underlying objective for this project: Reinforcing music theory skills while advancing in piano playing skills, but having a bigger objective of assisting pianists to become competent and versatile at the instrument.
Rogers analyses different approaches as to how music theory is taught. A
‘historical’ approach follows a linear, chronological study of the development of music. This follows the idea that understanding atonality of the second Viennese school grew from the increasing chromaticism of the late nineteenth century, which grew from the harmonic language of the classical period. This evolved from the modal system of the sixteenth and seventeenth centuries and this can be traced further back, depending how far one analyses.
The ‘astylistic’ approach looks at concepts, which can be analysed and applied to various pieces of music, regardless of style and historical traits. Whether it is analysing harmonic function, textures, structure or register, the concept can be seen in a variety of styles and genres. Most of the texts investigated for this project used an approach that may be termed astylistic.
For these reasons, the astylistic approach is the preferred approach for this online Keyboard Harmony course. It requires keyboard players to be versatile in a number of styles. Teaching harmonic concepts astylistically, such as chord progressions or improvisation, means they are applied to various styles. This is especially the case with chord labelling. A possible example would be labelling a
62 baroque figured bass example with letter name chords or a pop song with figured bass.
Research in Keyboard Harmony
There is little published research on the teaching of Keyboard Harmony, both in- class and as an online course. However, there is insightful research published on individual aspects of Keyboard Harmony. Some of the research published on
Keyboard Harmony concepts, such as sight-reading and harmonisation, offers an insight into this field. These studies, mostly focused on sight-reading, seek to find common trends and habits among participants in order to better facilitate efficient teaching.
A study in sight-reading by music educator Jerry Lowder in 1973 involved first- year college students and it concluded that sight-reading mistakes were usually with pitch and led to mistakes in rhythm. Mistakes were more common in the bass clef rather than the treble clef. The recommendations attributed to improving student performance in this area included a strong emphasis on chord analysis, as well as rigorous practice of playing all chords in all of their inversions in all keys. A significant finding in the study was ensuring sight- reading focuses on rhythmic evenness, and occasional pitch inaccuracies are warranted to ensure consistency of rhythm and tempo. A solid foundation in chord analysis and technical proficiency can help to ensure a quick recovery should the pianist stumble or make a mistake (Lowder, 1973).
A later study, influenced by the aforementioned study by Lowder, involved two
63 groups of expert pianists, one group specializing in accompanying and the other in general performance, aimed to determine their sight-reading abilities. Having participants accompany a pre-recorded solo flute part, recording them, and being marked, the researchers sought to determine whether pianists who specialize in accompanying are better at sight-reading than those who specialize in general performance. In addition, the participants were required to perform the piece again a week later after having had rehearsal time. This small-scale study (n=16) revealed the accompanist specialists scored better in their sight- reading; however, the general performers significantly improved their accompaniment scores after a week to practice their part. This study highlights the ability to sight-read well and to play well are different skills. Sight-reading requires specialized practice to develop an ability to rapidly distinguish patterns in the music (Lehmann & Anders Ericsson, 1993).
In another exploratory study that focuses on both sight-reading and harmonisation, conclusions and discussion reveal similar results to the work of
Lowder (1973). It identifies discrepancies between participants’ left and right hand sight-reading accuracy and its effect on harmonisation abilities. The authors conclude that more research into other aspects of keyboard techniques
(transposition, accompanying and score reading), in addition to sight-reading and harmonisation, is needed to determine more efficient ways of allocating teaching resources (Betts & Cassidy, 2000).
Research into different psychological aspects of sight-reading was conducted
64 that involved seven different experiments that measured sight-reading skills.
These skills included the speed of naming the pitch of individual notes, the recall ability of notes/chords that were displayed for a brief period of time and problem solving where pianists had to select a bar of music from a given list to fill in the missing bar from the sight reading exercise. The experiment involving the selection of the missing bar was not a reflection of the participants sight- reading skills, rather their ability to problem solve. All participants, including the stronger sight-readers, scored relatively poorly. This highlighted an important finding that:
[…] skilled sight-readers are not better at any task involving musical notation. Rather, sight-reading expertise seems to be more related to the attainment of rapid pattern-recognition skills […] together with prediction skills and the facility to generate auditory representations. (Waters, Townsend, & Underwood, 1998, pp. 144-145)
The majority of the studies researched for this project have a focus on the application of harmonic and rhythmic pattern recognition skills in sight-reading.
They do not explore the acquisition of these skills. Research into participant sight-reading ability after completing a Keyboard Harmony course would be an interesting endeavour.
Instructional Design
This section looks briefly at the main areas of instructional design researched for this project. Instructional design is the practice of creating efficient and effective delivery of instruction to enhance and improve the acquisition of knowledge and the learning experience. This includes identifying objectives, and designing and
65 creating instructional examples (practice items) to achieve the objectives. In order create an online Keyboard Harmony course, understanding how to design a course where instruction is delivered effectively helps to ensure its success.
Instructional Systems Design
The term ‘Instructional Design’ is commonly used interchangeably with instructional technology, educational technology and Instructional Systems
Design (ISD). The usefulness of instructional design was realized during WWII as an efficient way to assess the abilities of military personnel for training programs (Reiser & Dick, 1996).
Instructional designers rely on prior knowledge and experiences to build instructional strategies and models. These models not only reflect existing instructional design methods but also reflect an underlying conceptualization of learning, understanding and instructing. Instructional designers are directly affected by the learning theories they were exposed to (Duffy & Jonassen, 2013).
Learning theory is a model of learning explaining how information is received, processed and stored. There are numerous learning theories relevant to this research. Three of these theories briefly explained are:
• Behaviourist Learning Theory: focuses on what can be observed. It is a
means to monitor and measure changes in human behaviour. It
emphasises observable factors in how we act and what it is that impacts
how we respond to particular stimuli.
66 • Cognitivist Learning Theory: grew from the limitations of behaviourist
learning theory in explaining most social behaviours. Cognitivist theory is
concerned with the metaphor where the mind is a computer that
processes information.
• Constructivist Learning Theory: a team-based approach to learning in
either the traditional or virtual learning environment. It uses the learner’s
previous experiences to build, share, acquire and structure knowledge
among other learners (Leonard, 2002, p. 39).
Robert M. Gagné (1916-2002) was a major influence in the area of ISD. His instructional theories have been widely used by instructional designers in a wide array of settings from military to school settings. His instructional theory utilizes different types of learning theory to provide outcomes considered and appropriate for the type of instruction to be delivered. This theory is highlighted in his book The Condition of Learning (Gagné, 1970). It is made up of three components. These are
1. Taxonomy of learning outcomes (which fall into 3 domains)
a. Cognitive (intellectual skills)
b. Affective (attitudes)
c. Psychomotor (motor skills)
2. Conditions of learning
3. Nine functions of instruction
The first component, ‘Taxonomy of Learning Outcomes’, is based on the work of
Benjamin Bloom, which will be discussed later.
67 These nine specific functions or events of instruction are
1. Gaining and controlling attention
2. Informing the learner of expected outcomes
3. Stimulating recall of relevant pre-requisite capabilities
4. Presenting the stimuli inherit to the learning task
5. Offering guidance for learning
6. Providing feedback
7. Appraising performance
8. Making provisions for transferability
9. Insuring retention (Gagné R. M., 1985)
Using these nine steps as a guide allows educators to ensure learning follows a systematic, logical progression.
ISD Models
The work of Gagné and other learning theorists has led to the creation of numerous ISD models such as the ADDIE model. ADDIE is an acronym for the five distinct phases of the ISD process. These are the Analysis, Design,
Development, Implementation, and Evaluation phases. The Analysis phase identifies instructional problems, the instructional goals and objectives, and determines the pre-requisite skills needed for the end user (the learner). The
Design phase involves the creation of learning objectives, lesson planning, and determining the means of assessment. The Development phase occurs at the point where all the content is created, based on the details in the Design phase.
68 The Implementation phase is where the content is delivered to the learner by a facilitator (the teacher). The Evaluation phase consists of two components; formative and summative evaluation. These are used to determine the success of the instructional delivery and indicate the need for any modifications to the instruction. The ADDIE model is not strictly a specific model of ISD, rather the term given to describe a family of models that contain the same core structure.
(Branch, 2009, pp. 1-5).
Although this model has no single author attributed to it, its origins can be traced to the United States armed forces in the mid-1970s. The ADDIE model is often used as the basis of other ISD models. The phases follow a sequential process, meaning that each phase should be completed before moving on to the next area in order to facilitate efficient instructional delivery (Morrison, Ross, Kemp, &
Kalman, 2010, pp. 13-14).
The sequential approach to the ADDIE process, however, has numerous shortcomings with regards to the evaluative process within each individual phase. Waiting until the end of the ADDIE process to make corrections can cause problems of processing feedback. This is especially the case when delivering instruction in the online environment, where different technologies are required.
A proposed alternative to the sequential approach is the iterative approach. This involves each phase being evaluated and revisited so that modifications can be made as necessary (Allen M. , 2012, pp. 15-19).
69 Other ISD models include the Walter Dick and Lou Carey Systems Approach
Model, known as the Dick and Carey model, where instruction is viewed as a whole, incorporating the interrelationships between context, content, learning and instruction.
The following Figure 7 is Dick and Carey’s ISD model as observed in this diagram:
Figure 7: Dick and Carey ISD model
Dick and Carey’s book The Systematic Design of Instruction explains their instructional design model. A ‘Systems Approach Model’ is a generalized model for instructional design. It is used to create a unique model for delivering instructional materials or modules. The reason for a generalized model rather than anything specific to a particular subject area is because modules are designed for specific students with specific learning outcomes in mind (Dick &
Carey, 1978, p. 7). The Systems Approach Model can be seen as a guide for creating effective instructional delivery for a Keyboard Harmony module.
70 Dick and Carey discuss the role of the teacher in education. They acknowledge that some teachers are intuitively good at selecting relevant and stimulating material for achieving learning objectives. It is important, however, to have skills in instructional design that enable a teacher to design and implement instruction in the learning environment (Dick & Carey, 1978, p. 4).
Walter Dick and Robert Reiser’s book, Instructional Planning – A Guide for
Teachers, offers a concise method of planning instruction. They stress the importance of knowing what the end goals of teaching are. This is referred to as systematic planning. There are four principles of systematic planning. These principles constitute the first step of Dick and Carey’s ‘Systems Approach Model’
(Figure 7). These principles lead to effective instruction. Effective instruction is,
“Instruction that enables students to acquire specified skills, knowledge and attitudes. Effective instruction is instruction that students enjoy” (Reiser & Dick,
1996, p. 3).
These four principles are
1. Begin the planning process by clearly identifying the general goals
and specific objectives students are expected to attain.
2. Plan instructional activities intended to help students attain those
objectives.
3. Develop assessment instruments that measure attainment of those
objectives.
71 4. Revise instruction in light of student performance on each
objective and student attitudes towards your instructional
activities (Dick & Carey, 1978, p. 7).
Another influential ISD model is the “Backward Design” model. Backward
Design is where objectives and goals are determined first, followed by planning of appropriate evaluation and identifying if these objectives and goals can be determined. One of the advantages of this method is the redirection of focus from
‘what outcomes can be extracted from the assigned learning materials’ to ‘what learning materials can be interpolated to achieve the assigned outcomes’. This type of course design assists in teaching students to become lifelong learners because it focuses on teaching larger concepts that can be applied in professional situations. The learning objectives are clearly defined and this helps students avoid fragmented information they may rarely or never encounter (Daugherty,
2006, pp. 1-5).
A name synonymous with the learning objectives surrounding the performance of music is Benjamin Bloom (1913-1999). Bloom was an educational psychologist who was famous for his work in creating taxonomy of educational objectives. This refers to a classification of learning objectives: the outcomes set by educators for students. As mentioned in Gagñe’s work, the taxonomy divides learning objectives into three domains: cognitive, affective and psychomotor.
Through encouraging the use of all three learning domains in teaching, educators are better equipped to provide a holistic approach for student learning (Bloom,
1985).
72
Bloom contributed to the field of ‘mastery-learning’. The term ‘mastery-learning’ was created by Bloom in relation to his presumptions regarding the way children learn. Given the right learning conditions, Bloom believed that encouraging the mastery of each learning unit was imperative before progressing to a more advanced learning task. This was considered more effective when compared to traditional instruction that progresses with a time frame in mind, rather than the comprehension of the instruction at hand (Bloom, 1985).
Bloom identified traits of master teachers who were defined through the level of success obtained by their students. In one particular study, Bloom observes traits of successful master teachers of piano. This is a small group of teachers (6-
8) having numerous successful students attributed to their teachings. These teachers were able to motivate and analyse progress to a high degree while ensuring expectations of outcomes were clear. Bloom identified that:
The master piano teacher typically was a concert pianist who communicated particular styles and qualities by demonstrations where possible and necessary. These demonstrations frequently illustrated ideas that were too complex to represent verbally (Bloom, 1982, p. 668).
This idea is parallel to the master class style of instruction. Bloom concludes in the case of many successful pianists, that the role of the master teacher was the major contributor to their success (Bloom, 1982, p. 668).
73 Instructional Video Design
My experience with video editing was minimal before commencing this project.
The initial stage was searching the Internet for ‘instructional video design’ and
‘creating teaching videos’. This search initiated some good ideas of where to look for detailed processes involving designing instructional videos to provide the basis for Keyboard Harmony instructional videos.
There were several texts I acquired to develop a clearer understanding of how to create instructional videos. I began with Instructional Video by Stuart M. DeLuca because this name appeared frequently when researching this area. This book caters to those who ‘know a lot about teaching but little or nothing about video’
(DeLuca, 1991, p. xi) and offers a step-by-step guide to ensure the designer has adequately conveyed the information.
The first step DeLuca stresses is the choice of content on the grounds that it is the most important step in producing effective instructional video. This ensures what will be taught and displayed is appropriate and achievable. DeLuca states that keeping projects and expectations very modest is important because, without a large budget, instructional videos can be ineffective in their outcome if the expectations are too high (DeLuca, 1991, p6).
74 There are three main areas to address when designing video. These are:
1. The Content Outline
2. Storyboarding
3. Script writing
The Content Outline
The content outline is commonly referred to as a lesson plan. The lesson plan needs to be established with well thought out and precise flow of events before considering its application into a video format. The lesson plan consists of learning objectives (also known as enabling, behavioural or instructional objectives) and goals (also known as target objectives).
Learning and Target Objectives
The following information has been sourced from the www.go2itech.org resources page on creating learning objectives. Learning objectives are designed to22:
• provide clarity about the purpose of the course.
• guide the development of appropriate content, methods, and materials by
the curriculum developer in order to facilitate learning and meet training
goals.
• establish accountability between the learner and the instructor.
22 This outline has been taken from the instructional papers freely available from the www.go2itech.org web page under resources/technical implementation guides.
75 • help trainers articulate exactly what they want from participants.
Learning objectives are indicators of progress when trying to reach end-goals or targets. Writing effective learning objectives can be divided into four components, commonly referred to as the ABCD method. This method is similar to the work of educational theorist Robert Mager (Mager, 1997) (Chyung, 2008, p. 50). These are:
• Audience: Consideration as to the targeted audience, their backgrounds
and experience.
• Behaviour: Specify the actions needed to be performed by the participant
at the conclusion of a lesson or learning unit.
• Condition: Establish under what environment and conditions tasks are to
be performed.
• Degree: Describe the criterion for an acceptable performance through the
description and example of how well the objective is to be performed.
Goals, which can be referred to as target objectives, are less specific than learning objectives as they are designed to give an overview of the final outcome without a specific set of instructions as to how to get there. When learning objectives and target objectives (goals) are planned properly they can:
• provide a framework for organizing training.
• assist trainers to focus on ‘need to know’ content and eliminate
unnecessary content.
76 • inform participants about what new information or skills they will be
learning. Participants can take more responsibility for their own learning
when they know what they are expected to achieve.
• guide trainers in choosing appropriate methods and materials to enhance
participants’ learning.
• assist trainers in designing appropriate assessment and evaluation tools
that accurately reflect the curriculum, and inform whether or not
outcomes have been achieved.
• ensure that the desired program goals and objectives are achieved
(Writing Good Learning Objectives, 2011).
This information assisted in the design of the online Keyboard Harmony course videos and, in particular, understanding instructional video in context of the whole course and individual lessons. The desired target and goal objectives need to be clear and the content used needs to reflect these objectives.
Storyboarding
Storyboarding is the ability to think visually and is often the most difficult aspect in video design. This can be compared to a comic strip or picture book where the images are accompanied by text. It should be able to convey to another person what you wanting to achieve in the video. This requires concise instructions and timings in order to replicate the intentions of the author, with some room for creative input (DeLuca, 1991, p. 15). Thinking in this manner is similar to the
77 thinking needed to setup an effective PowerPoint presentation, a skill that has become more commonplace in modern day lectures and demonstrations.
The type of instructional video being created affects what is included in the storyboard. Instructional videos requiring multiple camera angles and shots of different scenes will require visually intensive storyboards. This means the storyboards use numerous images, either hand drawn or computer generated, to indicate the desired effect. The storyboards contain details such as the duration of the scene, types of audio (including music and voice over), and any other media or direction that may be required. Instructional videos not requiring multiple camera shots and angles require less visual detail on the storyboards. In some instances, no images may be needed at all, assuming the instructions given are adequate (Levy, 2008, pp. 307-308). An example where the storyboarding for an instructional video does not require a visually intensive approach is a when a video is made using screencasting.
A screencast is a digital video recording of the activity occurring on a computer screen. Screencast recordings often contain audio commentary that accompanies it by the person sitting at the computer. It helps to create a ‘look over my shoulder’ effect allowing the viewer to witness exactly what the designer of the video has intended. Screencasting is an effective way to create short and focused learning material, supporting students working at their own pace (Raftery, 2011, p. 666). Recording computer screen activity allows one to use a program such as
Microsoft PowerPoint and then record the slideshow presentation as a video.
Creating storyboards for screencasts can be as simple as taking a screenshot of
78 the computer desktop and accompanying these images with details such as commentary and additional media requirements (Notess, 2012, p. 19).
Screencasting is a relatively new approach to creating instructional videos. The usefulness and success of using screencasting can be seen at www.lynda.com .
This website offers user-friendly courses assisting beginners and intermediate users in becoming adept with a software program or package. The videos displayed on this website are created using screencasting, allowing the viewer to observe what is occurring on the computer screen of the instructor while listening to a voice-over explanation. The procedure is further enhanced with optional practice material for users to demonstrate their understanding of the instruction. The videos are engaging, easy to follow and not visually distracting: important aspects sometimes overlooked when creating instructional video
(Elliot, 1984, p. 5)23.
Videos created using this method are usually quite short in length, allowing for access to essential information quickly because its duration is an important consideration. The online article entitled Six Steps to Creating High Quality Video
Training states the following guidelines:
People are used to watching TV. Keep your video simple and to the point. Make sure your videos are no longer than 10 minutes: if needed, segment them. If you have one hour of video based training, find seven to ten main points and break up the training into those points. Keep the training simple. Occasional close-ups with the instructor looking at the camera help to create and maintain a connection to the learner (Vest, 2009).
23 This reference, from almost thirty years ago, was included to highlight the relevance of video design instruction that was published prior to digital recordings.
79
This article recommends the instructional video’s duration be approximately two to seven minutes on average, with a maximum of ten. The video camera shot should not be a single display shot for the entire video, but rather with a mix of shots, including title screen, graphics, and shots with the instructor to help create a sense of connectivity in the learning process with students. The instructor needs to be an entertainer as well, and thus ensuring their voice does not become monotonous. This will help to avoid students from losing interest with the video.
One way to ensure voice-overs used in instructional videos do not become boring is to use radio-announcing techniques as a guide. According to Broadcast
Announcing Worktext, having a deeper voice is advantageous because this is often considered most pleasing for the listener. Depending on your intended audience, having a regional dialect could be important, coupled with articulate word pronunciation and grammar (Stephenson, Reese, & Beadle, 2012, pp. 6-7).
The rate at which you speak, calculated at words per minute (wpm), should be approximately 160. Words become less articulate as your wpm increases and meaning, as well as audience attention, can be lost. The volume of the voice should be considered when delivering content. Even though a soft, faint voice can be amplified to an audible satisfactory level, it will lack the energy to keep an audience’s attention. A strong, emphatic, low pitched-voice that occasionally varies its pitch and tone is the ideal voice for announcing (Stephenson, Reese, &
Beadle, 2012, pp. 72-73).
80 Script Writing
Writing a script is the process of preparing everything that is said in an instructional video on paper. The script of any instructional video is comparable to an architect’s design of a building because it provides a detailed structure of what the video will contain. The script not only details what is to be said but how it is to be said and it sets the tone of what is to be achieved in the video. The script helps to orient the direction of an instructional video (Musburger, Robert,
& Kindem, 2012, p. 44).
The process of writing a script will vary from person to person. It may involve regular revision, although the ultimate goal of the instructional video should be clear to determine the use of language (i.e. formal, colloquial or slang). When beginning to compose a script for an instructional video it is useful to be broad.
Conversations and explanations being conveyed on paper may not come across as effectively when spoken and might require rewording or omissions of sections
(Ponder, 1995) (Musburger, 2010).
Writing a script for an instructional video may not require much detail, especially when only one person is creating the video. It is useful, however, to write out and rehearse what is to be said so that an impression of what the dialogue will sound like can be assessed and modified. This ensures the content is covered in the way it has been designed.
81
82 The Internet
The Internet in Australia
The use of the Internet in educational institutions, as both teaching aids and teaching replacements, is rapidly becoming the norm (Tallent-Runnels M. K.,
Thomas, Lan, & Cooper, 2006). Since starting this thesis in 2009, there have been steady changes in the use of the Internet with varying technologies. The release of the Smartphone, which began with the release of the ‘iPhone’ in 2007, is an example of this shift in the way we use technology and the Internet. The smartphone is a pocket-sized computer capable of connecting to a wireless
Internet connection and, more recently, because of improvements in telephonic infrastructure, mobile Internet, supplied by telecommunication companies.
There has been further development in Internet infrastructure with the announcement by the Australian Government to implement a National
Broadband Network (NBN). This national project aims to replace the existing copper wire network with fibre optic cables delivering significantly faster
Internet speeds. It opens the way for many changes to educational practices. For further discussion on this topic, please refer to appendix A.
The most common type of Internet in Australia at present is ADSL (Asymmetric
Digital Subscriber Line) delivered primarily using the current copper telephony infrastructure. It provides data exchange (upload as well as download) at much faster rates than dial-up connections (Rouse, 2006). Educational uses of the NBN include greater connectivity, regardless of geographical placement.
83
The Internet has become an integral feature in modern society and is a part of everyday life for many people. By reviewing the statistics of Internet usage, its relevance for an online Keyboard Harmony course can be recognized. There would be little value of using the Internet to teach anything if it were not widely used. The following section identifies Internet statistics in Australia and the
Greater Oceanic area.
The most common location to use the Internet is in the home. In 2008-2009, nearly 75% of Australians aged 15 and over had used the Internet, with the smallest percentage being the 65+ group at only 31%. In 1998, approximately one million households had Internet access and, in 2008-2009 there were nearly six million connected households. Of these six million households, an estimated five million had a broadband Internet connection, with approximately 12% of
Internet users still using dial-up. Up to 94% Australians aged 15 and over used the Internet at least once a week with over 50% of Australians using it daily. The majority of people use it for personal reasons, such as checking emails, online banking, gaming, job searching and shopping; 46% use it primarily for work and
39% use it primarily for educational purposes (Australian Social Trends, 2011).
According to a study released in 2012 by Nielsen, Australians are embracing internet-based banking services spurred on by the growth of internet-based technologies such as the smartphone. Over half of all Australians aged over 16 have a smartphone (Nielsen Identifies Investment Strategies and Financial
Habits of Australian Consumers, 2011).
84
The use of the Internet in Australia and the Greater Oceanic area has grown by nearly 220% from 2000-2012, having the second highest Internet usage figures per capita in the world. This includes 80.5% of Australians using the Internet as of June 2012 (Oceania Internet Usage Stats and Population Statistics, 2012).
The Australian Bureau of Statistics for Internet usage in Australia in 2009 summarises its findings with the following conclusion: It has become an important part of the way we work, communicate, do business and are entertained. The decreasing cost of IT has seen increasing numbers of Australian households embrace IT and this trend is expected to continue with advancements in internet and mobile technologies (Australian Social Trends, June 2011, 2011).
These statistics offer insight into the extent of how the Internet is being used and provides a rationale for further research into online music education.
The History of the Internet
The history of the Internet can be traced back to the Cold War when computer networking was a relatively new technology. In order to establish an effective and militarized communication network, computer technology required significant improvement. A United States Government national defence initiative known as ARPANET (Advanced Research Projects Agency Network) was an organization that approached universities and small businesses to help with rapid technical development; a technological revolution. This became known as the ‘internet’, the term being derived from internetworking. It was not until the
85 launch of the Russian Satellite ‘Sputnik’ that the potential of this technological revolution was fully realized. Originally designed for military communications, it was progressively developed and exploited by scientists, engineers and students and evolved into what it is today (Woodford, 2005, p. 23).
The Internet, in tandem with improving computing technologies, has developed in functionality and availability. This was achieved by using existing copper wire
(telephone wires), satellite and fibre optic cables to deliver the Internet. These developments in Internet infrastructure and how the Internet can be accessed have affected the way we work, learn and socialize. It is important to view a research project that involves online learning in the context of the many facets of
Internet usage. The uptake of NBN technology will presumably expand the potential market for courses similar to this project.
The Internet and Business
The Internet has changed how businesses operate. Many businesses trade by using the Internet as a means of communicating with a wider consumer base.
Businesses have been shifting their focus, enabling trade either partially or solely online, in order to reduce business related costs and to become more competitive.
Prior to 1990, it was uncommon for an employee to work at home unless it was an absolute necessity, such as the employee being disabled and unable to leave their house (Varma, Ho, Stanek, & Mokhtarian, 1998). With the Internet steadily
86 developing, the work force has become highly mobile. This brings benefits including improved worker morale, increased time spent with family, and occasionally creating a cost-effective alternative to in-office employment for employers (Bayrak, 2012). Employees are able to use the Internet to further their abilities and credentials with online training and professional development.
The number of online businesses in Australia has increased to 39% in 2011, with another 22% planning on doing so in 2012 (More Business Moving Online, 2011).
With more businesses trading online people can work remotely and thus potentially reducing their overhead costs and reaping the benefits of flexible working hours. These benefits include domestic arrangements, geographical logistics, and personal lifestyle advantages, such as more time with family and operating in global markets – both commercial and education. These are a small sample of the benefits in using the Internet as a modus opperandi.
Businesses use advertising on the Internet to attract potential customers as the savvy consumer regularly searches the Internet to make informed decisions on purchases (Molenaar, 2010, p. 40). According to a 2013 Nielsen poll:
The Internet is an important influence on consumers interested in buying new products in categories like electronics (81%), appliances (77%), books (70%) and music (69%). The trend is catching on in consumption categories too—such as food and beverages (62%), personal hygiene (62%), personal health/over-the-counter medicines (61%) and hair care (60%)—with respondents in Asia-Pacific, Latin America and Middle East/Africa most engaged in online decision-making. More than half of all global respondents consider the Internet important when it comes to
87 purchasing new clothing (69%) and cars (68%) (Digital Influence: How The Internet Affects New Product Purchase Decisions, 2013).
These statistics highlight that consumers use the Internet to make purchasing decisions because of the ease in which they can compare prices and product information from competing businesses. It can also be assumed that the Internet can be used to make tertiary educational decisions, such as comparing costs of different universities, both online and on-site.
88 The Internet and Education
The Internet affects how we learn and study. Using the Internet as an educational resource (online learning) is a growing trend in the educational application of technology. The Internet has replaced other traditional distance-education tools, such as television, pre-recorded videos and video applications. It does so by enabling these resources to be delivered through its common platform (Means,
Toyama, Murphy, Bakia, & Jones, 2010). The Internet has further enhanced the way we learn by utilizing computing technologies in the classroom.
A recent example can be observed in the Federal Government‘s investment in the funding for nearly 1400 schools to purchase laptops for students in years 9 to 12 at a cost of approximately $91 million and $1.3 billion over six years. This means that more than 141,000 computers are being provided for students for students.
The Minister for Education at the time, Julia Gillard said:
Every secondary school in the country has had the ability to apply for assistance to bring them to a student-to-computer ratio of one-to-two for students (Kwok, 2009).
The laptops are Wi-Fi enabled, meaning that students are able to access the
Internet at any Wi-Fi hotspot. This means the majority of students are able to engage in class work, complete homework assignments and other learning tasks assisted by the support of the Internet.
The Internet has made e-books a popular means to access literary material. E- books are readily available on websites for purchase and can be viewed in a
89 variety of formats, most notably being EPUB (Electronic Publication) and PDF
(Portable Document Format) (Fields, 2012). E-books allow for greater accessibility to learning material, an important aspect of online learning and distance education, where geographical isolation can make it difficult to acquire a hard copy of a book. Steven Johnson views this growing trend as a positive step for education. He states that:
It is hard to overstate the impact that this kind of shift will have on scholarship. Entirely new forms of discovery will be possible. Imagine a software tool that scans through the bibliographies of the 20 books you've read on a specific topic, and comes up with the most-cited work in those bibliographies that you haven't encountered yet (Johnson, 2009).
This impact of E-books applies to music education. Books are now available to as many interested parties as needed, whereas prior to this only one person could borrow one a book at a time. Other potential uses include cross-referencing different music score editions, isolating specific chord progressions and accessing course textbooks online and digitized manuscript for performances.
Research into learning mathematics, science and English with the Internet has been ongoing for at least fifteen years. Teaching using the Internet resources benefits students more than those without (Day, 1998). Similarly, the music classroom has benefited from the addition of Internet resources. Internet resources, such as YouTube for instructional videos, Googledocs for word processing, and Audacity for sound editing, are available for free and they allow greater learning possibilities for students. Canadian music teacher Andrew
90 Mercer applies these resources in his own classroom and reinforces the positive impact they have on student involvement and learning outcomes (Mercer, 2008).
The virtual music classroom is a learning environment gaining in popularity as a viable alternative for the traditional classroom. The virtual classroom is an online environment designed to connect students who are unable to attend a class. These classes rely exclusively on the Internet to deliver pre-recorded and live videos for music learning.
An example of research using the virtual classroom includes a study by Anderson and Ellis. In this study (2003), music instrument lessons were prepared with high quality digital video and delivered via Blackboard for students enrolled in a
Bachelor of Contemporary Music degree. The ability to play, rewind, fast forward and watch in slow motion enables students to pay very close attention to what the teacher was doing with their hands. One of the key points this experiment highlighted is that the web-based learning resources should be designed in such a way to support self-directed learning because individual practice is the primary way students learn their instrument. The teacher merely directs and enhances this learning (Anderson & Ellis, 2003).
Anderson has worked with video-conferencing where, instead of using pre- recorded video instruction, real-time video was used with a piano teacher.
Students were taught with a variety of web-based learning resources to help their practice; however all the individual lessons over six weeks were with a teacher via webcam. Again, using Blackboard, the results suggested students felt
91 they were at no disadvantage from learning in this manner when compared to face-to-face tuition.
An interesting point students in this study raised was their concern over the possibility this research was being done to justify replacing face-to-face tuition.
While the point of the study was ultimately to experiment with different teaching and learning strategies, it highlighted the importance to students of face-to-face learning. Anderson concludes:
The present study showed that even in a less than ideal layout and some vision and audio sync issues to contend with, "the live videoconference was good once you got used to it ... in fact, it was fine," as one student put it (Anderson & Fitzgerald, 2007).
Research projects, such as these by Anderson & Ellis, provide evidence that a student can get a comparative educational benefit from education delivered via the Internet compared to in-class learning. These projects, however, still target beginner to intermediate level students and the not more advanced tertiary level student performing large scale, technically demanding classical works. This could be because of the limitation of the internet not being able to transfer high quality video feed at an adequate rate, commonly referred to as latency or ‘lag’.
This may be only a matter of time, however, before the technology is adequate and research in this area can be considered worthwhile.
92 Online Education
Online education, commonly referred to as ‘e-learning’, is a means of delivering educational material using the Internet as a virtual environment. It is analogous with distance education, where learning occurs away from the classroom, though not necessarily online. The Internet has given rise to a variety of ways to learn a keyboard instrument, both formally through an accredited institution and informally, for the beginner to intermediate musician. This section will look at some of the websites currently available offering varying forms of piano tuition online. Observing some of the courses and tutorials currently available assists to gain insight into what is possible in developing an online Keyboard Harmony course.
The Internet has changed the way music teachers advertise and recruit students.
Online directories and personal web pages allow piano teachers to promote their areas of expertise and offer a convenient way for potential students to find them.
‘Music Teachers Online’ is an Australian-based directory allowing teachers to register and upload their details where students are able to seek out a teacher in their immediate area. Some offer links to businesses and institutions specializing in various fields of music (Music Teachers Online, 2011).
Providing specific styles of music education is one advantage of online delivery.
Examples include the ‘Shankar Mahadevan Academy’ (Mahadevan, 2012). This website offers courses teaching Hindi vocal techniques, Bollywood style guitar and piano courses. The piano course teaches students how to read piano chord
93 charts and offers video instruction in how to play in a Bollywood style and provides karaoke tracks to assist with practice.
There are numerous free online courses in piano tuition, with unique approaches in instructional delivery. ‘Zebra Keys’ offers over fifty piano lessons of varying difficulty. Each lesson uses visual flash animation where ‘stripes’ fall down on corresponding positions on a picture of a piano keyboard. Students then press the corresponding notes on their own piano. It provides a top view perspective of the piano, mimicking the perspective of a pianist. There are recorded tutorials demonstrating concepts from naming the keys on the piano to playing chords.
Tutorials in basic music theory, such as intervals and scales, are included (Zebra
Keys, 2006).
‘Piano Nanny’ is one of the first websites to offer piano education online (Piano
Nanny, 2006). Created in 1994, the tuition offered is primarily visually based, using static pictures along with sound files playing what the student should be hearing when they play on their own piano. The lesson notes and instructions accompanying each lesson are stated simply and are easy follow. One of the strong points of this website is that it encompasses a variety of learning tools, including aural and touch sensitivity training, as well as lessons on improving hand co-ordination. The advanced lessons introduce students to chords represented by their letter name and eventually emphasise jazz progressions.
Another free website using a similar animation approach to learning is ‘Plern
Piano’ (Plern Piano, 2010). The ‘Guitar Hero’ style gives the player ample time to
94 prepare on a real piano because they can see which note is approaching before it is required to be played24. It includes an interactive MIDI piano display allowing the student to place notes on the grand stave by pointing and clicking with the mouse and hear them played back.
All of these websites offer links to sheet music in the public domain and demonstrate unique approaches to learning beginner piano. The courses target beginners and no formal Keyboard Harmony training is offered, though they do present Keyboard Harmony basics, such as chord construction and chord labelling. The most useful feature is the top view approach allowing the student to view what is being taught from the perspective of the pianist. This means of demonstrating points in a Keyboard Harmony class, without the animation, would be an effective way to demonstrate Keyboard Harmony examples.
The aforementioned courses are free to use, but not formally accredited nor offering one-to-one tuition. These courses are designed for the casual learner with minimal experience and not seeking professional development in piano; rather, learning for leisure. They do not necessarily require a consistent practice schedule to benefit from them and do not have a teacher to instruct you as you progress. Examples of learning piano with a teacher on the Internet for more advanced pianists, however, include the Online Music Institute.
24 Guitar Hero is a video game where coloured circles move down the screen in a quasi-representation of a particular rock song. The player is required to press the buttons on their toy guitar in sync with the circles in order to achieve points and hear the song ‘correctly’.
95 The web-cam based (including Skype, Apple’s ‘Face Time’ and Google Cam)
Internet site ‘Online Music Institute’ offers paid tuition from reputable teachers
(Online Music Institute, 2008). There is a demonstration video that can be viewed for piano and guitar. There were both good and bad aspects extracted from viewing this video. There were three participants, two students and one teacher, and the students performed excerpts from a Haydn Sonata and a Liszt concert Etude. Both the students, after advice on how to improve their playing, performed to the teacher consecutively. Further evaluation of their performance is not provided.
The sound quality of Skype overall allowed the student to hear important aspects, such as phrasing and dynamic changes, but technical restrictions, such as video quality and latency, limited what learning outcomes could be achieved. It is possible to hypothesise, however, that these limitations would be less of a hindrance when teaching aspects of Keyboard Harmony, as opposed to repertoire performance, using Skype. An article published in the New York Times in relation to this website describes the use of Skype in video lessons as:
Skype and other videochat programs have transformed the simple phone call, but the technology is venturing into a new frontier: it is upending and democratizing the world of music lessons (Louis, 2012).
There are examples, however, of online courses that offer accreditation towards a full bachelor’s degree. One such example is the Berklee Music College Online.
Berklee Music College offers traditional in-class style of learning but specializes in distance education for international students. Berklee Music College Online focuses on contemporary music and offers a wide array of online courses,
96 depending in which area within the music industry one wants to specialize.
Courses range from learning keyboard, drums, guitar or bass, to music production, composition and music theory/aural training.
The website offers free sample lessons of some of their courses in order to get an understanding of learning music online before paying for the full course. In 2011,
I enrolled in the sample course for learning keyboard using the Berklee
Keyboard Method. This course introduces students to the basics of constructing and voicing chords, reading lead sheets and improvising. The sample lesson given was on the bass clef. It offered clear learning objectives, listed as follows:
Objectives By the end of the lesson, you will be able to: • play bass-clef notation on the piano keyboard • identify appropriate fingerings for the left hand using numbering • play from one five-note hand position and move to other locations • play one-line melodies based on the above (Berklee, 2011)
A notable aspect of this sample lesson was observing other students’ assignment submissions. Each lesson requires a small assignment to be recorded and uploaded. Everyone enrolled in that particular course can access the submissions made by other students. This allows students to formulate ideas on how to attempt the assignment if they are finding the task difficult. Comments were left by the teacher to inform the student on how they had performed and whether or not it needed to be amended before progressing to the next lesson.
There were no instructional videos provided for this lesson as everything was presented in text accompanied by diagrams. The nature of this content, however, is preparation for more complicated aspects of keyboard playing and therefore lesson videos were not crucial for conveying the performance instructions.
97
In addition, I enrolled in the music theory sample lesson in 2011. Similarly, the lesson objectives were clearly defined, being:
Objectives Upon completion of this lesson, you will be able to • understand the use of the staff for notating pitch • recognize the letter names of notes written in treble and bass clefs and grand staff • identify and play on the keyboard notes written on the grand staff • write notes on the grand staff using Finale Notepad • recognize, play, and write octaves • recognize, play, and write using ledger lines • identify and use accidentals • understand, play, and write enharmonic notes (Berklee, 2011)
This music theory course material includes interactive examples that can be manipulated by moving the mouse cursor over different areas. In one example given in the sample lesson for music theory, students are able to hear different pitches on the grand staff using their mouse cursor. These interactive examples, combined with explanations, enrich the learning experience by encouraging students to be active in their approach to learning, as opposed to passively reading the lesson material.
I contacted Berklee via email after sampling their courses and inquired as to the main benefits of online learning according to their observations. The main points of their response can be summarised as:
• Courses are structured so that students do not need to be at a specific
location at a specific time. Students decide where and when they
complete their coursework and assignments within a given time frame.
98 • The courses are 12 weeks in duration and the instructor posts new lesson
material and assignments at the end of each week.
• The lessons provide real-world experience and there is weekly feedback
provided on all submitted work from the course instructor.
• Feedback can also be provided by other students in the class, through the
sharing of ideas and critiques regarding ones approach to an assignment.
The layout and delivery of the Berklee online music course provides an important insight into how practical online music instruction can be delivered.
Delivering an online course, however, requires an online learning management system. This will be discussed in the following section.
99 Online Learning Management Systems
The origins of Learning Management Systems (LMS) stem from instructional training programs delivered via computers. Computer-Assisted Instruction (CAI),
Computer-Based Instruction (CBI) and Computer-Assisted learning (CAL) are all terms used to describe software packages focusing on repetitive learning drills and exercises in a particular subject area. LMS, however, extends beyond delivering learning material (Kats, 2010).
LMS encompasses all aspects of the learning process by not only delivering and managing the instructional content, but by organizing course administration, participant enrolment, participant progress, delivering online assessments and is able to have the learning content updated or modified easily. For an individual looking to organize an online course, using an LMS, such as Blackboard, allows for greater control of the content and management of users, which would ultimately save time.
Mathew Pittinsky and Michael Chasen created Blackboard in 1997 with the goal of providing a user-friendly online learning environment where college staff could easily put course content and information. Its growing success can be attributed to the acquisition and amalgamation of other, similar course management software providers. With this success, Blackboard became public in
2004 and eventually merged with its main rival company Web CT. It is estimated this merger has resulted in up to 80% of the online course management market in North America (Bradford, Porciello, Balkon, & Backus, 2007, pp. 301-302).
100 According to The Blackboard Learning System (Bradford, Porciello, Balkon, &
Backus, 2007), some of the benefits of Blackboard include:
Increased Availability: Students are able to access course material as
well as submit work at any time. Provided there is an Internet connection,
access has shifted from fixed times, as is the case with traditional
methods, to times that suit the student.
Quick Feedback: There are two main types of feedback Blackboard can
offer: faculty-initiated and automatic feedback. Tests and quizzes can be
created to give immediate feedback to the student depending on the
nature of the feedback required. For essay style questions, feedback is
given in the form of typed responses that can be emailed to the student or
left for them to check when the next logon.
Improved Communication: There are four distinct functions in
Blackboard assisting with student and staff communication. First of these
is the announcement feature where students, upon logging in, will see any
message the course administrators have left that may be urgent, such as
an alteration of submission dates or changes to course material. The
asynchronous discussion board allows students to raise and respond to
questions regarding any uncertainties regarding the course or course
work. The virtual classroom is a synchronous learning platform where
students can communicate in real-time using text based chat. Finally,
Blackboard offers administrators the ability to email individual students,
groups of students or all students.
101 Tracking: This allows administrators to monitor the frequency, or lack
thereof, with which students access course material. It digitally date/time
stamps submitted work so late assignments can be easily recognized.
Students can track their progression by viewing the Gradebook.
Gradebook lists the marks of students for each submitted assignment and
only their own marks can be viewed.
The Blackboard website offers information on how to create courses using their online learning environment. The use of Blackboard is not free and can only be used with institutional enrolment. To create, run and enrol users for the purposes of research on Blackboard, a subscription fee has to be paid.
There are other alternatives to using Blackboard, however. Some of these require a hosting fee and others are free to use for the purposes of creating and delivering an online course. One alternative is ‘Moodle’ (Modular Object-
Oriented Dynamic Learning Environment), an LMS that is free to use and manipulate. It is commonly used in conjunction with an in-class course (blended learning). It has features analogous to Blackboard, but does not require a subscription fee to use. The features include file storage and sharing, conducting online assessments, emailing relevant users of news, and group tools for users, such as discussion forums. Course developers may charge fees, however, for users to enrol in courses they have created: Moodle is open source (Moodle,
2011) (Cole & Foster, 2009).
102 Another open-source LMS is eFront. This learning platform allows for an easy, customizable icon-based interface having many similar internal features to
Blackboard, such as internal messaging, forums, chat and grading management.
Course creators pay a monthly fee to host their course and the price varies depending on the number of users enrolling. For this reason course creators usually charge an enrolment fee to help negate these costs, and make a profit. It has a free trial period of 30 days to determine the suitability for the course and its users (eFront, 2012).
Coursera is a possible alternative for course creation, provided that the course developer has institutional backing. Coursera offers free courses in a wide array of subjects. Coursera is:
An education company that partners with the top universities and organizations in the world to offer courses online for anyone to take, for free. Our technology enables our partners to teach millions of students rather than hundreds (Coursera, 2012).
While the use of Coursera requires the backing of an educational institution, it is possible to create courses such as a Keyboard Harmony course. Music courses already available include the ‘Fundamentals of Music Theory’, ‘Exploring
Beethoven Sonata’s’ and ‘Write Like Mozart: An Introduction to Writing Classical
Music’ (Coursera, 2012).
103 Tertiary Music Challenges
Institutional Challenges
Secondary (High School) music as a subject has seen many changes in recent decades to what is taught and how it is taught in Australia and around the world
The influence of new technologies has arguably caused the biggest change, particularly with regards to music publishing and sequencing. These changes impact future students entering tertiary level music because they will have acquired vastly different skills during their secondary schooling compared to previous tertiary students (Bennett, 2008, p. 64). What this means for tertiary institutions is that they too need to develop new strategies and courses that factor in these changes in order to attract a wider array of students without compromising educational quality.
Finding a balance between ensuring student enrolments, student satisfaction, academic quality and budgetary considerations in any university program is central for a successful academic institution. Five key challenges with online music education identified by music educator David Hebert (2007) are:
• prejudice regarding the legitimacy of online degrees.
• coordination between distance education and music departments.
• pressure to maximize profits at the expense of educational quality
• management of adjunct music instructors.
• management of student behaviour and provision of student services.
104
Hebert believes that these challenges can all be met:
Recognition of the unique challenges of online education and a sincere commitment to cooperatively meeting basic obligations on the part of four relevant parties: the university administration, professors, students, and professional leaders (Hebert, 2007).
The strengths of an online program include:
• tailored learning programs.
• more inclusive discussion online compared to in-class discussions.
• prejudices are often minimized in the online environment because
physical or verbal traits are not as easily exploited online as they are in-
class.
• busy parents and people with disabilities or other health challenges being
able to undertake online learning with less difficulty than in-class.
• more opportunities for students to connect with leading professionals
(Hebert, 2007).
Hebert identifies that there are numerous benefits to online music education, with arguably the main benefit from a learner’s perspective being convenience.
Courses delivered online allow students to progress at a rate dependent on their situation. There are fewer restrictions with completion times from the greater flexibility offered with accessibility (Tallent-Runnels, Thomas, & Lan, 2006).
105 Academic Integrity
The Internet provides easy access to information; however, this potentially increases the ease of cheating. There is conflicting research regarding whether or not the Internet is directly responsible for increases in plagiarism (Sutherland-
Smith, 2008, pp. 101-102) (Herberling, 2002). At the tertiary level, academic integrity is a major focal point and many institutions have academic honesty policies and software targeting academic fraud. This has proven to be difficult to enforce as the Internet provides many opportunities to plagiarise work, including unintentional plagiarism. This is further made complicated with a lack of consistency between institutions as to how plagiarism is dealt with
(Sutherland-Smith, 2008, p. 181).
The most common form of academic misconduct by students involves the reproduction of material from a source text without acknowledgement. This includes paraphrasing material without acknowledgment or pretending to paraphrase, with an acknowledgment, but using material identical to the source
(Walker, 1998, p. 89). In music education, however, plagiarism has been near impossible in practical performance subjects. This is largely because performance is commonly assessed in person, as opposed to the assessment of a performance recording. The only possible ways a student could feasibly cheat is by having another student undertake the performance, or claim credit regarding another student’s composition. This would require a serious breakdown in communication among faculty and administration staff and would not be anticipated in a course where students are well known to the staff.
106
There is little research, if any, directed at issues regarding online performance and assessment of music. This is possibly due to the few options available for obtaining a music degree containing practical elements or it has not been considered a problem. Arguably the most common means of having a performance assessed online is through the use of a recording. The issues here concern the policing of performance editing, the validation that the recorded performance has been performed by the applicable student, and whether or not editing would be accepted. It is a reasonable assumption to make that many students would have some editing skills, as well as the ability to collaborate with others. At the University of Newcastle, post-graduate performance students who learn via distance are able to submit performances recorded to DVD along with a statement stating whether or not the recording has been edited in any way. The use of video DVD recordings makes it difficult to edit or have another person perform without it being obvious to the examiners.
A Keyboard Harmony class delivered online, as with any practical music class, has the potential to have its academic integrity abused. This research project, however, will not be dealing with academic integrity issues surrounding subjects of an online degree. It is acknowledged, however, this is an important area of research.
107 Course Conversion
Established in-class courses are sometimes transferred into the online environment. Creating an online course from an in-class course by copying the coursework and syllabus word for word does not guarantee a successful conversion. The conversion process means adapting the course to the numerous tools available online. In the initial stages of converting a course into the online environment, several questions need to be considered. These questions, outlined by Ko and Rossen in their practical guide for teaching online, include:
• What is your student audience? How many of them are there and what
level of expertise are they for the course?
• What type of materials should be made available for students in order to
complete their work?
• What kind of Internet access will be available for student? Where will
students be accessing the Internet?
• Do you have the backing of an institution to assist in creating online
materials?
• What online learning environment will be used? Will a website be created
on online learning template? (Ko & Rossen, 2004, p. 53)
These questions should be answered during the instructional design process.
They demonstrate that creating an online course requires more than simply cutting and pasting an in-class course.
108 A further consideration is the additional time it takes to learn and navigate online. Known as ‘click time’, the act of opening up documents, streaming media, and other processes required for computer access, all add to the amount of time needed for students to perform a particular task (Ko & Rossen, 2004, pp. 147-
148).
Converting a course into the online environment is possible, provided that consideration is given to the impact it will have on students. One of the most important aspects that might be overlooked after a course has been converted is ensuring that a dialogue still exists between student and teacher.
109 Chapter 3 - Methodology
Introduction
This chapter outlines the methodology used to investigate the feasibility of creating an online Keyboard Harmony course. Feasibility in this context is the ease with which an online course can be created by one person with some experience in online design and relevant software packages. The hypothesis to be tested is that it will be possible and the processes and discoveries made will serve as a platform for further research in online music education at the tertiary level.
Determining the feasibility of the online course will include exploring the possibilities and limitations experienced throughout the entire process. This involves determining appropriate software and hardware, time management issues, media creation issues, the participant recruitment process and making adjustments for unexpected hindrances. It will not investigate any costing considerations, as well as comparing different computing technologies. It is understood these are important considerations but they are not being evaluated due to the constant change in technological availability and associated cost.
The feasibility of the course will involve the evaluation of the course and how successfully participants receive and experience it. This evaluation is not measured using a quantitative analysis because of the small sample of participants who volunteered. However, their pre- and post-course test results
110 will be used as an indicator of the success of the course. The materials in both tests are similar and it is assumed that low participant test scores in the pre- course test can be improved in the post-course test by completing the course.
Improvement, or lack thereof, will add to the discussion on whether or not an online Keyboard Harmony course is feasible.
Feedback from the participants provides additional indications of the success and shortcomings of the course. The feedback is a significant factor in determining if an online Keyboard Harmony course is feasible. This is because student satisfaction is arguably the most important consideration, particularly with online learning, because it helps to determine better instructional designs and to improve learning opportunities (Johnson, Aragon, Shaik, & Palma-Rivas,
2000, p. 47)).
The design of the course will be based on a combination of tried and tested ISD models, following the ADDIE process and Dick and Carey model as a guide. The reason for not using these models strictly is due to the nature of the online environment. When the aforementioned ISD models were created, the online learning environment did not exist as it does presently. It is suggested that they can easily be adapted to suit the online environment (Dick, Carey, & Carey, 2009, p. 2).
Another reason that these models are not being used strictly is because I have assumed the composite roles of author, developer and instructor. There are no
111 other researchers to collaborate with and this allows for greater flexibility in the approach to the design and development of the course.
This project can be described succinctly as a semester-long online Keyboard
Harmony course. Participants perform a pre-course test before commencing the course material. After completing the semester’s work, a post-course test is performed, similar to the pre-course test, but not identical.
The course and all relevant learning material will be delivered using the online learning environment Blackboard and the tests will be conducted using Skype.
The tests will be recorded so differences between the two tests can be observed and commented on. Participants requiring assistance or help with any coursework can send enquiries via email and if further help is required, a Skype session can be arranged for in-person, real-time assistance.
The following section outlines how the course was created. It will be broken down into the five areas of the ADDIE model and will highlight the processes used by the author. These areas will then be focused on separately in the following chapters.
Analysis
The analysis phase defines what is required to make the project possible. This phase addresses questions relating to the targeted learners, the learning outcomes and restrictions, and the online delivery options. Instructional goals
112 and objectives are identified and problems that might occur as a result of the learning environment are clarified in order to design applicable learning material.
It includes discussions regarding the preparation of the project, the acquisition and investigation of Keyboard Harmony material, and learner characteristics.
Learner characteristics are necessary to take into account, given the varying skill levels of undergraduate musicians prior to tertiary enrolment. For this reason, learner characteristics were the focal point when designing test items and practice items for the weekly lessons.
Design
The design phase has two main areas of discussion for this project and they follow a chronological order. These areas are the ‘course content’ design and the
‘media’ design. The course content design utilises the instructional goals identified in the analysis phase. This phase commences by creating the post course test material and from this the material for the entire course is extrapolated. The difficulty of the post-course test is at a level that I felt was appropriate and could also be achieved within a semester timeframe.
The post-course test items undergo a task analysis to determine their enabling objectives and the skills required to perform them. These objectives are further reduced until the pre-requisite objectives are reached. The enabling objectives that are revealed in this process provide a platform to design relevant practice
113 items. These items assist in the development of participants’ skills in order to perform the post-course test. A lesson plan is then designed to place the practice items into a series of lessons over a semester.
The ‘media’ design section focuses on the instructional videos used to deliver the course material. This requires a storyboarding and scripting stage. These stages offer clear instructions as to how the media will appear and sound. When one person is designing the entire project, these stages are not as critical, however.
This is because there is far less chance of instructional ambiguity among other members of a production team. These storyboard and scripting stages are still included, however, to demonstrate the processes undergone by the author to achieve the instructional videos.
The design phase will not address graphic design, with the exception of recorded material at the piano in relation to camera angles. It is acknowledged that it is an important part of the design process; however, this project is serving to determine feasibility in relation to online delivery. The effect of graphic design and feasibility of graphic design are beyond the scope of this project.
Development
This phase is the production stage of the project where content is generated. The design of the content in the previous phase is shifted into a digital format. The development of the material for this project begins with the creation of the post- course and pre-course test papers followed by the lesson notes and work sheets
114 for each weekly lesson. The lesson notes and work sheets for each week’s lesson are restricted to a single page for ease of printing and displaying at the piano.
The next stage involves creating a series of PowerPoint presentations and recording footage of myself playing at the piano. The presentations and footage are screencasted and edited with additional background music, slide transitions, and highlighted points of interest. The content of the recordings at the piano are examples from the lesson notes and work sheets.
The final stage in the development phase is the preparation of Blackboard. This involves seeking authorisation from the Blackboard department at the
University of Newcastle, manipulating the default Blackboard template to suit the Keyboard Harmony course, and uploading the media files. It also required familiarisation with features such as enrolling participants and mass emailing enrolled participants.
Implementation
This phase commences after ethics clearance has been granted. The ethics process is discussed because it is a consideration that should be taken into account in relation to the feasibility of the project. This is irrespective of whether the project has an institutional approval or not.
Once ethics is cleared, participants are recruited through the University of
Newcastle, personal colleagues, and previous privately taught piano students. A
115 database is then made through the non-tertiary department at the
Conservatorium of Music, Newcastle. Participants are added to this database and it is used to apply for unique Blackboard login details.
Before commencing this coursework, however, participants perform a pre- course test. This is performed using Skype and recorded for contrast with the post-course test and once completed participants commence the course at their leisure. With the unique ID for Blackboard, participants have full access to all the lesson notes, worksheets, and lesson videos. Only the post-course test is inaccessible in order to avoid the chance of participants practicing it without completing or attempting the weekly course work. Any questions students have are sent via email.
The last stage in the implementation is recording the post-course test. This involves emailing all participants and organizing times for them to perform and record the test. The post-course test is recorded in the same manner as the pre- course test.
Evaluation
The evaluation phase has a strong influence on the design phase. The original plan was to evaluate using similar testing measures for Keyboard Harmony used at the University. This was boycotted because assessments being conducted online require careful consideration due to numerous complications that can occur compared to in-class assessments. An example of this is the quick study.
116 The in-class Keyboard Harmony course assessment task included a small piece of piano music to learn over three days prior to the exam. This includes an assessment of musical detail such as articulation, dynamics, and pedalling. These details would be very difficult to assess via Skype or in real-time online in general. It would be difficult to ensure that participants would only have access to the piece of music over three days. Participants requiring assessment rescheduling due to unforeseen circumstances would have access to the quick study for longer than three days. Assessing the fundamentals of chord playing was considered a greater priority than assessing the performance of a short piano work.
This course is being evaluated in two ways. Participants complete a questionnaire and write approximately 300 words describing their thoughts regarding what they felt was effective and what needs improving. This includes details about the layout, difficulty and presentation of the learning material, time management issues and general comments on the online experience.
The other means of evaluating the course is through a comparison of the pre- and post-course test scores. The comparative test scores are presented with bar graphs for each question of the tests, including the overall marks. This score comparison, as suggested by Leanne Eline in her book How to Prepare and Use
Effective Visual Aids allows for easy visual assessment of improvement, if any, of the participants and helps to indicate the success of the course (Eline, 2007).
117 These scores are determined by a marking rubric on rhythm, pitch accuracy and overall fluency. The rubric has been included to provide continuity in the marking of test scores as part of determining feasibility. It is only being used only as a guide in the marking process. It is not intended to provide definitive parameters for Keyboard Harmony marking criteria.
Conclusion
The process involved in creating this course is clear and uncomplicated regarding the courseware development methodology. The area of Keyboard
Harmony, however, has presumably not been designed in this manner before. It is expected that a deeper understanding of the processes involved in designing, developing and implementing an online Keyboard Harmony will be realised.
118 Chapter 4 - Analysis Phase
Introduction
The analysis phase identifies instructional goals and has various inputs and considerations. The instructional goals determine what the learner is expected to achieve at the end of instruction (Dick & Carey, The Systematic Design of
Instruction, 1978). This chapter will discuss the original Keyboard Harmony course that provided the basis for this project and an overview of Keyboard
Harmony texts that were used as references. The course objectives and the test items used for the pre-course and post-course tests will follow this with an instructional analysis. The final section of this chapter provides a list of the hardware and software considered for the development phase.
Project Background and Preparation
The aims and design of this project were influenced partially through my experience in teaching an onsite Keyboard Harmony course. In order to contextualize some of the decisions made for this project, a description of what was entailed is essential to place this research project into a relevant context.
Keyboard students at the University of Newcastle were required to participate in the ‘ensemble studies’ component of their music degree. I was asked to teach the class in 2008 for second and third year students. At this time the class had been structured where the material for each year of study was given in a work booklet designed by the course coordinator. Each week, the students would bring the
119 workbook to class and begin to work on some of the examples contained within.
Students would work on two or three exercises in a lesson covering one or two
Keyboard Harmony concepts. The exercises included transposing chord progressions and musical excerpts into various keys, harmonizing melodies and bass lines, and chord labelling exercises that utilized figured bass and roman numerals.
Assessment tasks were examples taken from the workbook but slightly modified
(e.g. changing the tonality of the exercise) and then students recorded them using specially designed recording software attached to a digital keyboard. These assessments consisted of chord progressions in various keys, harmonisation of melodies and transpositions of small pieces of music. Students were required to record the assessment in one single, unedited take. The students would save their assessment file on the one computer station. To improve security the file was encrypted, thus reducing the risk of cheating through submitting an edited file.
The classes were made up of both English and ‘English as a Second Language’
(ESL) students. This sometimes created problems regarding the communication of difficulties with class tasks and was usually overcome by playing the example to the student. The role of the teacher was to guide the students to ensure the work was attempted. Students who did not complete assigned work in-class were required to practice the tasks during the week; however, this work would not be tested in following week’s lesson. This strategy indicated whether or not the students understood what was required in the final assessment. The final
120 assessment was not recorded but performed live. If students experienced difficulties with any week’s work they were able to schedule a time to seek assistance prior to the assessment.
The possibility of academic misconduct occurring by students was an area of consideration. It was possible, though unlikely, for another party to record a students’ assessment task. This was because the recording station used for these assessments was not always supervised. The small class sizes (usually a maximum of 10 students), however, meant that I had a reasonable understanding of each student’s abilities at the piano. If a student’s assessment recording seemed dubious, the student would be asked to play it in person.
Policies relating to academic misconduct would be enforced if noticeable discrepancies occurred. For this project, factors surrounding online academic misconduct are not being considered because the participants are volunteers and gain no formal credit.
The issue of irregular attendance was a problem for some students and an important factor for researching Keyboard Harmony in the online environment.
Many students had external commitments, including paid work, travel and other scheduled classes for those enrolled in double degrees. This created an interesting paradox when most students passed the course without complications. This was because absent students could practice the relevant work in their own time, assuming they were already familiar with the concepts being taught. If they were not familiar with any work, students could rectify this by inquiring about it the following week. It is highly unlikely, however, that a
121 student would be successful in accomplishing all the required work if they failed to attend any of the classes throughout the semester.
There are numerous challenges when teaching a Keyboard Harmony class and many of these are unique to the individual student. There were some, however, that were more common than others. The following section will analyse some of these challenges, followed by the steps taken to address these in the online environment.
Teaching Challenges
There were numerous challenges experienced when I was teaching the in-class course. One of these challenges involved teaching inexperienced students how to form close position chords in all inversions in the right hand when given a letter- name chord25. A common limitation I observed was students only being able to form close position chords in root position as well as students disregarding the left hand role in determining the position of the chord.
Another challenge involved teaching inexperienced students different ways to read and play chord symbols other than chords labelled by their letter-name.
Students often found exercises involving Roman numerals and Figured Bass difficult to apply at the keyboard if they came from a popular music background.
This was because those students often failed to recognize letter-name chord symbols when displayed as music notation.
25 Letter-name chords are chord symbols where a letter is used to represent the root of the chord. They are also known as contemporary chord symbols and pop chord symbols (Sarath, 2013).
122
Both these challenges highlight the third and arguably the most important challenge when learning any material in the online environment: the absence of a teacher in the classroom. In a Keyboard Harmony class, any hindrance to performing weekly tasks could be solved by observing the students’ difficulty and responding accordingly. In the online environment, addressing the aforementioned challenges requires a different approach. This approach requires a thorough explanation of each concept, with numerous examples, and further online assistance if required. Learning material that addresses these challenges is included for this project that was not taught in the onsite course.
To address the challenge of right hand chord formation, a system is introduced entitled ‘treble position’. To address the challenge of chords labelling, exercises are included that use letter-name chords. The following section explains how these challenges are addressed for this project.
Treble position
‘Treble position’ is a close chord position labelling method and is based on the work of Joaquín Zamacois26 (1894-1976) as outlined in his treatise Tratado de armonía (Treaty of Harmony)(Zamacois, 2002). This method uses Arabic numerals, as used in figured bass; however, the numbers in treble position notation are used to represent the chord member in the soprano.
26 Joaquín Zamacois was Chilean-Spanish composer and music theorist.
123 Online Keyboard Techniques Course Week 2 - A Treble ‘5’ above and the given Bass pitch Position indicates that the 5th of the chord is highest note. LessonTherefore, Notes by deduction, a root position chord is formed beneath it. If a ‘3’ is above a given pitch, it indicates that the 3rd of the chord is at the top and a
second inversion chord is constructed and a first inversion chord is formed if a ‘1’ 1. Treble position is a useful way to familiarise yourself with playing chords in the right hand w w in a particular inversion without the need to is displayed.& w w w write out all the notes of the chord. Always be w mindful of the key signature. ^ ^ ^ 5 1 3 The following Figure 8 illustrates this: The '^' symbol with the number underneath it is used to indicate the note of the chord you are w w playing (the 3rd, 5th or 1st (written as 8th). & w You always construct the chord directly underneath the given note. ^ ^ ^ 1 3 5 2. A single pitch, in this example 'E' can have different chordal notes above it and this will w w w give you a different chord each time. These w w w numbers will always mean the same inversion & w w from whatever the given note is: e minor C major a minor 1 = 1st inversion 1st inversion 2nd inversion Root position 3 = 2nd inversion 5 = root position
Figure 8: An example of how Treble position labelling is played. 3. Bass position, most commonly referred to as w w 'Figured Bass' requires you to think bottom to ? w w w top, rather than top to bottom as in treble w w position. Treble a 5th positionand , as described a 6th and above, is a not 6th found and in any of the referenced a 3rd above C a 3rd above E a 4th above G Keyboard Harmony or music theory textbooks. There are examples that have a Figured bass uses numbers to indicate the interval (distance) of the other notes above the similar appearance but are not referred tow as Treble position. Some texts use bass note as you can see in this example. ? w w numbers above the soprano part in four 5 6 - part harmony cadence exercises. These 6 3 3 4 numbers are only intended to address different types of cadences. (Jamini, 2005,
4. Similar to Treble position, a single pitch, in thisp. 234). example 'C', can have different figurings underneath it and you will get a different chord each time. These numbers will always mean Letter? w-name chordsw w the same inversion from whatever the bass w w w note is: 5/3 = root position 6/3 = 1st inversion 5 6 6 6/4 = 2nd inversion 3 3 4 C major a minor F major root position 1st inversion 2nd inversion
124 Letter-name chords were utilized in some of the course work that involved improvisation in the on-site course. However, letter-name chords displayed as musical notation27 was not taught. If students were unable to recognize letter- name chords when displayed using musical notation, I would show them at the conclusion of the lesson. Exercises that show the relationship between notated chords and their letter-name symbols are included in the online course to assist students who come from a background where these chord symbols are not already known.
The next step in this project’s preparation is acquiring a wider perspective of
Keyboard Harmony texts used in universities around Australia and New Zealand.
These assist in identifying trends in teaching practices and to apply them for use in the online course. The following section outlines this process.
Acquiring Keyboard Harmony Source Material
The range of literature that can be sourced for use in a Keyboard Harmony class is virtually limitless. In addition to texts that are directly related to Keyboard
Harmony, exercises can be made out of simple musical fragments from sources that are not designed for that purpose. It is at the discretion of the teacher to determine what exercises best demonstrate Keyboard Harmony concepts in any specific teaching situation.
27 It was assumed that students knew the correlation between letter-name chords and musical notation.
125 Having taught Keyboard Harmony classes prior to this project, I was familiar with numerous texts, including Figured Harmony at the Keyboard (Morris, 1960),
Harmony and Voice Leading (Aldwell & Schachter, 1978), Harmonic Practice in
Tonal Music (Gauldin, 2000) and already had ideas of how I would utilize these texts to create material for the course. I investigated other Keyboard Harmony texts, however, to locate other examples that could be used or modified for use in the online course to provide a wider range of material to research.
Investigating Texts used at Universities
Investigating source material for use in designing learning material for the online course was approached in two ways. The first was by requesting the titles of texts and books used in Keyboard Harmony classes at various music departments around Australia. The second was through my own investigation of texts relating to Keyboard Harmony.
An email was sent to a sample of eight universities in Australia and New Zealand to ascertain if a Keyboard Harmony class, either for piano or non-piano majors, existed in their program and what texts were used. If no specific texts were used, then the goal was to find out how the material for their course was created. I assumed that most courses would consist of a range of examples from various sources.
The responses to the email were often vague and I was usually referred to the institution’s website for the information. After searching these websites for the
Keyboard Harmony texts, I found no specific information regarding Keyboard
126 Harmony courses or relevant texts. It was stated in one of the responses, however, that the practical teachers usually select the course material.
One university did reply and refer me to useful information about their
Keyboard Harmony course. Their response included a link to a specific syllabus incorporating the details of what concepts would be taught. It did not include any information about any texts being used and did not specify if it was for piano majors or for all music students.
One possible premise for institutions I emailed not providing the specific information requested is because of intellectual property concerns. In addition, if no Keyboard Harmony class was offered then references to specific texts could not be made. This limited feedback gave me little alternative but to rely on existing texts with which I was already familiar to use as background reference for the design and development of my own materials.
The next stage in this phase of the project is creating course objectives and setting clear instructional parameters. By having clear course objectives, it is easier to create relevant learning material enabling these objectives to be met.
The following section outlines how the course objectives are created for this project.
Course Objectives
127 A course objective states what skills the learner will be able to demonstrate at the end of a course. Harmonisation, chord labelling and transposition are the three main skills that are the focal point in this Keyboard Harmony project.
These skills are important to develop because they can be applied in a variety of settings, including solo performance and keyboard accompanying work.
Participants in this project demonstrate these skills through performing test items.
Test items reflect the core content and are used to assess whether the student has achieved the course objectives (Osterlind, 1988). To perform a test item, the skills necessary to perform it need to be identified. These skills are identified through instructional analysis. The process of instructional analysis is explained in more detail in the Instructional Analysis section.
Test items are performed and recorded by participants at the commencement and at the conclusion of this project. The difference in participants’ ability to perform the tests is used as a measure of the success of the project. For this reason, two versions of the test items have been created: a pre-course and a post-course version. Each version, however, is almost identical. This was to ensure participants could not rely on their familiarity of the pre-course assessment to complete the post-course assessment. It was also to ensure a comparison could be made between the pre-course and post-course test items.
The following section lists and describes the test items created for this project and the objectives being evaluated.
128 Test Item 1
The skill being assessed in the first test item is transposition. It is a diatonic
chord progression and its transposition played in a keyboard style using a single
note left hand and a triad in the right hand. The key chosen is C major; because of
the familiarity most piano students have with this key. The entire chord
progression is then to be played in the key of G major. The decision to use G
major is also based on piano students’ familiarity with this key. To avoid
additional technical complications, the chord progression has no rhythmic
variances so that the focus is solely on transposition. It is important to note that
the parallel 5th in the Post-Course test question (between chord iii and chord ii
6/5) has been left in to ensure that there are three notes in each chord without
any doubling of notes in the right hand. This would result in only two notes being
played by the participant on the piano instead of the typical three notes being
played in every other chord. The level of voice-leading knowledge to understand
this was considered too difficult for introductory Keyboard Harmony.
Pre-course test The following Figures 9 and 10 are the chord progressions for the pre- and post-
course test:
1. Play the following chordal progression in the original key and in G major. 4 œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ
? 4 œ œ œ œ œ 4 œ œ œ
Figure 9: Pre-Course test Question 1 Chord progression. ^ ^ ^ ^ 2. Play the following chords labeled in treble 3 1 3 1 position, figured bass and pop chord style (chords by their letter name). 4 œ 129& 4 œ œ œ
? 4 œ œ œ 4 C C/E G C 6 6 - 5 5œ 5 4 - 3 3 3. Harmonise the following melody with one chord per bar. In your answer ensure to use at least 3 of the following chords: I, ii (or ii7), iii, IV, V (or V7) and vi and any of their inversions. # & 4 œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙ ˙
? # 4 Post-course test
1. Play the following chordal progression in the original key and in G major. 4 œ œ œ œ œ œ œ œ & 4 œ œ œœ œ œ œ œ œ
? 4 œ œ œ œ œ 4 œ œ œ
Figure 10: Post-Course test Question 1 Chord progression.
^ ^ ^ ^ 2. Play the following chords labeled in treble 1 5 1 5 position, figured bass and pop chord style Objective: (chords by their letter name). 4 œ The participant at the end of the online course will be able to perform a diatonic & 4 œ œ œ
chord progression in a given key and then transpose it into another key. ? 4 œ œ œ œ Test Item 2 4 C C/E G C 6 6 - 5 5 5 4 - 3 3
3. Harmonise the following melody with one Test item 2 assesses the students’ ability to identify and perform chords that are chord per bar. In your answer ensure to use at least 3 of the following chords: I, ii (or ii7), iii, IV, V (or V7) and vi and any of their inversions. labelled with different chord symbols. It is assessed in two sections. The first
section requires the participant to play right hand treble position chords and # 4 ˙ ˙ œ œ ˙ ˙ & 4 single bass notes in the left hand. Letter˙ œ -name chords are also referred to as ‘pop’ œ ˙
style chords: a term used in keyboard techniques classes I taught for ? # 4 international students who did not understand what I meant by ‘letter-name’ but understood ‘pop music’ chords. The second section requires the participant to
play a figured bass example.
The following Figures 11 and 12 are used for question two in the pre- and post-
course test:
130 Pre-course test
1. Play the following chordal progression in the original key and in G major. 4 œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ
? 4 œ œ œ œ œ 4 œ œ œ
^ ^ ^ ^ 2. PlayPost-course the following chords test labeled in treble 3 1 3 1 position, figured bass and pop chord style (chords by their letter name). œ & 4 œ œ œ
1. Play the following chordal progression in the ? 4 œ œ œ original key and in G major. 44 œ œ œ œ œ œ œ œ œ & 4 œ C C/Eœ Gœœ Cœ 6 œ 6 œ - œ 5 œ 5 5 4 - 3 3 3. Harmonise the following melody with one chord per bar. In your answer ensure to use at leastFigure ?114: Pre-Course test Question 2 Cœ œ œ hord œ labellingœ . 3 of the following chords: I, ii (or ii7), iii, IV, V 4 œ œ œ (or V7) and vi and any of their inversions.
# 4 œ œ ˙ ^ ^ ^ ^ 2. Play the following chords labeled in treble œ œ1 ˙ 5 1 œ 5 œ œ œ ˙ position, figured bass& and pop4 chord style ˙ ˙ (chords by their letter name). & 4 œ œ œ œ ? # 4 4 ? 4 œ œ œ 4 C C/E G C 6 6 - 5 œ5 5 4 - 3 3 3. Harmonise the following melody with one chord per bar. In your answer ensure to use at least 3 of the following chords: I, ii (or ii7), iii, IV, V Figure 12: Post-Course test Question 2 Chord labelling. (or V7) and vi and any of their inversions.
# œ œ ˙ & 4 ˙ ˙ Objective: ˙ ˙ œ œ ˙
Participants at the end of the course will be able to identify and perform diatonic ? # 4 4 chords that are labelled using treble position, figured bass and letter-name
chords.
Test Item 3
Test item 3 assesses the students’ ability to identify chord tones in a given
melody and harmonise them appropriately. It requires the participant to use one
chord per bar under a four bar melody. The chords to choose from, as with the
first test item, are chord one to six.
131 Pre-course test
1. Play the following chordal progression in the original key and in G major. 4 œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ
? 4 œ œ œ œ œ 4 œ œ œ
Post-course test ^ ^ ^ ^ 2. Play the following chords labeled in treble 3 1 3 1 position, figured bass and pop chord style (chords by their letter name). œ & 4 œ œ œ
1. Play the following chordal progression in the original key and in G major. 4 œ œ œ œ œ œ œ œ ?&44 œ œ œœ œ œ œ œ œ œ œ œ 4 C C/E G C 6 6 - 5 5œ 5 4 - 3 3 The following Figures 13 and 14 are for question three of the pre- and post- 3. Harmonise the following melody with one ? 4 œ œ œ œ œ chord per bar. In your answer ensure to use at least 4 œ œ œ 3 of the following chords:course test: I, ii (or ii7), iii, IV, V (or V7) and vi and any of their inversions.
^ ^ ^ ^ 2. Play the following chords# labeled4 œ in œtreble˙ 1 5 1 5 position, figured bass and& pop 4chord style œ œ ˙ œ œ œ œ ˙ ˙ ˙ (chords by their letter name). & 4 œ œ œ œ
? # 4 4 ? 4 œ œ œ 4 C C/E G C 6 6 - 5 œ5 5 4 - 3 3 3. Harmonise the followingFigure melody13: Pre with-Course test Question 3 H one armonisation. chord per bar. In your answer ensure to use at least 3 of the following chords: I, ii (or ii7), iii, IV, V (or V7) and vi and any of their inversions. # œ œ ˙ & 4 ˙ ˙ ˙ ˙ œ œ ˙
? # 4
Figure 14: Post-Course test Question 4 Harmonisation.
Objective:
The participant at the end of this course will be able to identify chord tones in
the melody and harmonise those appropriately using diatonic chords.
Having established the test items for the course objectives by listing the test
items, the next step is to undergo an instructional analysis of the test questions.
This process identifies a hierarchy of tasks that will determine the enabling
objectives. From these objectives, practice items are then created. The following
section provides instruction analyses of the three test items.
132 Instructional Analysis
The process of instructional analysis determines how a task is ideally performed and what needs to be learned in order to achieve it. This process includes a
‘Procedural Task Analysis’ and a ‘Hierarchical Task Analysis’: systematic methods of describing the organization of work required to achieve instructional goals. A procedural task analysis separates a task into a sequence of steps that are to be performed to achieve a goal. They do not address the skills necessary to perform them, however. A hierarchical task analysis identifies the skills necessary to learn and perform a task or series of tasks (Dick & Carey, 1978)
(Embrey, 2000) (Ritter, Nerb, Lehtinen, & O'Shea, 2007).
A hierarchical task analysis is used to determine entry-level skills and to identify target and enabling objectives28. Entry-level skills are the pre-requisite skills needed by the participant before commencing a learning activity in order to achieve the target objective. Target objectives are the intended goals students are to perform at the end of a course and are the top-level tasks derived from the analysis. Enabling objectives define the skills or knowledge necessary to perform the target objective (Dick & Carey, 1978) (Plattner, 1997). It is at the discretion of the course designer to determine the minimum requirements necessary for commencement.
The minimum requirements in piano playing ability for this project were not as high as would be expected for a tertiary level course. The standard of the
Keyboard Harmony course, however, can be considered appropriate for an
28 These objectives are also known as ‘terminal’ and ‘subordinate’ objectives.
133 introductory class into Keyboard Harmony at the tertiary level. It was assumed that lower requirements would encourage more participants to take part in the project because higher participant numbers provide a larger sample of data to be analysed. These minimum requirements will be explained in the implementation chapter of this thesis.
After determining the minimum requirements for commencing the course, practice items are created. Practice items develop the necessary skills to achieve the test items. Practice items give the learner an opportunity to improve their skills and receive feedback on their performance. In order to create practice items, the necessary skills must be identified (Koohang & Harman, 2007).
The following section is a hierarchical analysis of the three test items created for this project.
Test Item 1
The first test item requires the participant to perform a notated chord progression using diatonic chords (except chord vii) and then transposed into G major. The following list shows the tasks required for test item one. This is displayed in hierarchical order starting from the target objective at no.1 and working backwards in decreasing difficulty.
1. Transpose a diatonic chord progression.
2. Construct and play major, minor, and seventh chords using Roman
numerals.
134 3. Identify Roman numeral symbols from given major, minor, and
seventh chords.
4. State what Roman numerals and scale degrees represent.
5. Identify dominant and minor seventh chords in any bass position
6. Construct and play dominant and minor seventh chords.
7. Identify major and minor triads in any bass position.
8. Construct and play major and minor triads.
In Figure 15 is a flow chart outlining the subordinate objectives for Question 1:
135 1.!Transpose!a!diatonic! chord!progression.!
2.!Construct!and!play! major,!minor,!and! seventh!chords!using! Roman!numerals.!
3.!Identify!Roman! numeral!symbols! from!given!major,! minor,!and!seventh! chords.!
4.!State!what!Roman! numerals!and!scale! degrees!represent.!
5.!Identify!dominant! and!minor!seventh! chords!in!any!bass! position.!
6.!Construct!and!play! dominant!and!minor! seveth!chords.!
7.!Identify!major!and! minor!triads!in!any! bass!position.!
8.!Construct!and!play! major!and!minor! triads.! !
Figure 15: Question 1 task analysis flowchart
These tasks can be further reduced, but the entry-level objective for this test item is to be able to play major and minor triads. This is based on the assumption
136 that a tertiary music entrant will have acquired skills up to this level prior to enrolling in a tertiary music course. This assumption includes the ability to read music notation (including rhythm and pitch in both clefs), familiarity with major and minor scales, intervals, scale degree numbers, and the ability to move the hands and fingers into the correct position and play chords. For piano majors it may be redundant to include this learning material for keyboard majors.
Test Item 2
The second test item is a chord labelling exercise. The chord labels consist of a figured bass, treble position and letter-name chords. This test item is divided into two sections. The first section will determine the students’ understanding of letter-name chord symbols and treble position. The second will determine the students’ understanding of a figured bass. The hierarchical task analysis for this test item will be broken down into two sections. The hierarchical task analysis for test item 2 is structured the same way as test item 1. The following list shows the tasks required to play the first and second section of test item 2.
1. Construct and play chords from given letter-name symbols and Treble
position notation.
2. Construct and play major and minor triads from a given letter-name
chord symbol.
3. Identify letter-name symbols from given major and minor triads.
4. State what Letter-name chord symbols represent.
5. Construct and play major and minor triads from a given treble
position.
137 6. Identify treble position from given major and minor triads.
7. State what treble position notation figures represent.
8. Construct and play a close position triad in any inversion.
In order to perform figured bass chords, a participant needs to be able to:
1. Construct and play seventh chords from figured bass symbols.
2. Identify figured bass symbols from given seventh chords.
3. State the figured bass symbols used for seventh chords.
4. Construct and play dominant and minor seventh chords in all bass
positions.
5. Construct and play major and minor triads from a given figured bass
symbol.
6. Identify figured bass symbols from given major and minor triads.
7. State the figured bass symbols used for triads.
8. Construct and play all major and minor triads in any bass position.
The following Figure 16 shows the flowcharts of the subordinate objectives outlined in Question 2.
138 1.!Construct!and!play!chords! 1.!Construct!and!play! from!given!letter8name! seventh!chords!from!6igured! symbols!and!treble!position! bass!symbols.! notation.!
2.!Construct!and!play! major!and!minor! 2.!Identify!6igured! triads!from!a!given! bass!symbols!from! letter8name!chord! given!seventh!chords.!! symbol.!
3.!Identify!letter8name! symbols!from!given! 3.!State!the!6igured! major!and!minor! bass!symbols!used!for! triads.! seventh!chords.!
4.!State!what!letter8 4.!Construct!and!play! name!chord!symbols! dominant!and!minor! represent.! seventh!chords!in!all! bass!positions.!
5.!Construct!and!play! major!and!minor! 5.!Construct!and!play! major!and!minor! triads!from!a!given! triads!from!a!given! treble!position.!! 6igured!bass!symbol.!!
6.!Identify!treble! position!from!given! 6.!Identify!6igured! major!and!minor! bass!symbols!from! triads.!! given!major!and! minor!triads.!!
7.!State!what!treble! position!notation! 7.!State!the!6igured! Digures!represent.!! bass!symbols!used!for! triads.!!
8.!Construct!and!play! a!close!position!triad! 8.!Construct!and!play! all!major!and!minor! in!any!inversion.! triads!in!any!bass! position.!! !
Figure 16: Question 2, first and second section task analysis flowcharts
The figured bass symbols are often presented with accidentals and are absent of any numerals for root position triads. In my experience, few students are exposed to figured bass as a practical component of piano playing in their tuition prior to university. Even if students have been exposed to figured bass in music theory studies, understanding it at the piano might be difficult to realize
139 effectively without a thorough introduction. For this reason, all root position chords have their figuring labelled and no accidentals are used.
Test Item 3
The final question on the pre- and post-course test requires the participant to appropriately harmonise a four bar melody. The harmonisation may utilize any diatonic chord with the exception of chord vii (i.e. I, ii, iii, IV, V and vi). It does not require the use of appropriate voice leading. To perform question 3, the participant would need to be able to:
1. Harmonise a given melody with diatonic chords using one chord per
bar.
2. List the possible diatonic chords that include the pitches in a given
melody.
3. Identify and construct all diatonic chords.
Figure 17 is a flowchart outlining the subordinate objectives for Question 3:
140 1.!Harmonise!a!given!melody! with!diatonic!chords,!using! one!chord!per!bar.!!
2.!List!the!possible! diatonic!chords!that! include!the!pitches!in!a! given!melody.!
3.!Identify!and! construct!all!diatonic! chords!(except!chord! vii).!
Figure 17: Question 3 task analysis flowchart !
This hierarchical analysis provides a platform for the lesson objectives of the course. The practice items used in each lesson will reflect the hierarchy of skills identified in this analysis. This is discussed in the design and development phases.
141 Selecting Hardware and Software
In order to design practice items into an online compatible format, a computer and software packages are needed. The following section discusses the technological considerations when preparing for the course.
Hardware
Financial considerations are arguably the most important factor when designing a course in any environment, especially when a variety of technologies are required. These technologies can be costly depending on the quality of the equipment desired for the creation of learning material. The course being designed requires video editing, music publishing, and Internet access and, as such, requires a computer capable of running relevant software packages.
After contacting the I.T. department, as well as conferring with colleagues, the most important specifications for use in video editing needed are the processor speed along with the computer base memory (RAM) and video card memory.
After researching several websites advising which computers are ideal for video editing, there was a consensus for Apple Mac products. After enquiring at a Mac store I was informed the Mac computers are very reliable for recording video and audio for professional quality videos.
For this project, an Apple iMac computer with the following specifications was used:
142 • 3.4GHz Quad-Core Intel Core i5
• 2560 x 1440 resolution
• 8GB (four 2GB) memory
• 1TB hard drive
• AMD Radeon HD 6970M with 1GB
Creating instructional video does not necessarily require an expensive visual and audio setup to be effective. For an individual without institutional backing, a computer having video and audio recording capabilities may suffice. This is providing the internal components of the computer meet the requirements of most software packages. Recommendations for an alternative computer setup have not been included because the cost and performance of computers are constantly being upgraded.
A further possibility is to record and deliver material using smart devices, such as a smart phone. Many Smartphones (such as the Apple iPhone and Samsung
Galaxy) have video and audio recording capabilities. At the time of writing, the quality of the video and/or audio may be less than ideal; however, with a limited budget and with many people owning a smart phone, it is an option worthy of consideration.
Software
The following section lists the software packages used in the creation of the instructional videos for each week’s lesson for the online Keyboard Harmony course. It briefly discusses potential alternatives attracting minimal costs to
143 encompass feasibility; however, the alternative packages were not used in the design process.
For the creation of the lesson notes, work sheets and musical examples used in the videos, I used Finale 2010. There are several software programs that work as effectively for the purposes of creating visually appealing musical examples, such as Sibelius. Finale comes with numerous templates and all the lesson notes and work sheets were created using the ‘test’ template.
The Finale software package was chosen because I was familiar with it and had acquired it for personal use. The cost of the aforementioned software packages, however, is an important consideration. A free alternative that could circumnavigate cost factors is Musescore.
Musescore is an open source software package created by Werner Schweer with the main purpose of creating sheet music. Creating or arranging musical examples can be saved in a variety of commonly used formats and therefore are compatible with many other software packages used in the instructional video creation process (Musescore, 2012).
The most useful program in the creation of the instructional video for this course was ScreenFlow. This software records the activity that is taking place on the computer desktop, known as screencasting (Telestream, 2011). A screencast is:
A digital video recording that captures actions taking place on a computer desktop. Screencasts, which often contain voice-over narration, are useful for demonstrating how to use specific operating systems, software applications or website features. (Kelly, 2009)
144 After recording what has taken place on the desktop, the recording can be edited.
This includes adding ‘call out’ features (such as zooming in and highlighting) in particular areas on the recording to draw attention to it. This is useful for isolating areas on musical examples being displayed. It allows the user to record their voice over the top of what happening on the desktop in real time, as opposed to after the recording of the computer desktop activity has been made.
Microsoft’s PowerPoint Presentation, part of the Microsoft Office Suite, was the main program used displaying the text and musical examples in the lesson videos. By creating various pages or ‘slides’, the user creates visually appealing displays of the learning material.
A similar style of program made by Apple is Keynote. This is a comparable software package capable of creating similar presentations. The decision to use
Microsoft Word for Mac was because I was familiar with the software.
A free-to-use presentation software alternative is Google Docs (Google, 2011).
This software is web-based and can be accessed using the Google Drive service.
Google Drive is free storage space offered to the user when a Google account, which is free, is created. This would be a feasible substitute for creating
Keyboard Harmony presentations for video, but on a limited budget.
Final Cut Express by Apple is a video-editing program offering a wide range of video editing options. The use of this program, however, was not needed for this project, as was anticipated, as a result of using ScreenFlow. In addition, the use of
Final Cut Express requires a significant familiarity with video editing techniques and is not beginner user-friendly. This software would be useful, however, if
145 there is ample time to become familiar with the software and if detailed and visually powerful presentations are desired.
For the purposes of this project, all of the lesson video footage (not performance footage) was recorded and edited using ScreenFlow. The editing features provided with ScreenFlow are adequate for creating instructional videos.
Adobe Acrobat: This program was used for the creation of PDF files that included the University of Newcastle logo. All of the lesson notes, work sheets and pre- and post-course test sheets were created using PDF’s.
Conclusion
Establishing the background of the course and determining adequate software and hardware allows for more clarity and direction in the proceeding design phase. The additional learning material, treble position and letter-name chords, is based on personal opinion that the area of chord labelling may be more problematic in the online environment. The instructional analysis provides a clear list of objectives requiring practice items. These practice items, as well as a lesson plan to structure the practice items, are presented over the next two chapters.
146 Chapter 5 - Design Phase
Introduction
This chapter discusses and outlines the steps taken to design the semester of lessons for an online course. The first step is the design of an assessment rubric, used to compare the differences between the pre- and post-course test items.
The next step is the design of the lesson plan and individual lessons. This plan is embedded with Gagné’s nine events of instruction and provides a structure for the enabling objectives identified in the Analysis phase. This, in turn, provides a framework to create practice items developing participants’ abilities to perform the enabling objectives (Gagné, 1985).
It is important to note that the design of this course was not a linear process.
Numerous elements of the course design were re-visited during the implementation phase, in particular the balance of content within each lesson.
The practice items for this course were designed concurrently with their development and for this reason the details of their design are included in the development chapter.
Assessment Rubric
To gauge participant improvement, or lack thereof, a marking rubric was created.
Using a rubric makes the marking process easier by ensuring marking consistency at all times (Clement, 2010, p. 46). Rather giving a specific mark or grade for each question based solely on subjective reasoning, each question of
147 the pre- and post-course test was divided into three sections. These were
‘rhythm/tempo’, ‘note accuracy’ and ‘voicing/voice leading’. These sections are placed among four ranks of participant capability. These are novice, competent, proficient and outstanding. Tempo was included as a marking consideration to determine whether students instinctively played practice items in a strict tempo, or whether they played with little to no consideration at all. For this reason, participants were not informed that the tempo was a requirement. To see the marking rubric used for this project, please refer to Appendix G.
The next step in the design phase was creating a lesson plan and planning the individual lessons.
Lesson Design
The design of the lessons was approached in three ways. The first approach involved creating a topic outline. This provided a broad overview ensuring all the concepts that were included in the test items were included throughout the semester. The second approach divides the topic outline into two content areas.
The first area focuses on the mechanics of playing chords. This refers to learning content that assists in the technique of playing chords without any regard to harmonic function. The second area focuses on understanding the harmonic function of chords. The final approach focused on the instructional strategy of the individual lessons so that the content would follow a logical sequence.
The following section discusses the three approaches.
The Topic Outline
148 A topic outline serves to put key elements of the instruction into focus. These elements include the capabilities of the participating students and the ways in which the teacher feels that students will learn most efficiently. It allows the teacher to establish learner continuity in order for students to steadily progress from previous learning (Butt, 2006).
Several versions of topic outlines were drafted for this course to provide a variety of possibilities. This process clarified where to place the content determined by the enabling objectives. A summarised draft topic outline and a detailed final topic outline have been included, as well as a discussion on some of the changes in the final draft.
The following is a summarised draft content outline that was primarily influenced by the on-site course lesson structure.
Draft Version
Lesson 1 – Triads Lesson 2 – Bass position Lesson 3 – Chord Labelling and Transposition Lesson 4 – Voice Leading Lesson 5 - Assessment Lesson 6 – Tonic, Dominant and Dominant Seventh Chords Lesson 7 – Chord ii Lesson 8 – Chord vi Lesson 9 – Chord iii and Clef Reading
149 Lesson 10 – Assessment Lesson 11 – Improvisation Lesson 12 – Revision and Quick Study Lesson 13 – Final Assessment
Lesson Structure and Content Changes
All of the content listed in the draft topic outline is taught in the on-site course.
Without the aid of a teacher to give immediate feedback and assistance, however,
the workload could be too large for some participants. The primary
consideration for the following changes was not the content but its suitability in
the online environment.
Improvisation (Lesson 11) and clef reading were removed as stand-alone topics.
Their inclusion was to assist with contextualizing diatonic chords, as well as
transposition. Improvising is still encouraged in this course; however, it is used
as a fun exercise for participants to reinforce work on diatonic chords and voice
leading.
The topic outline is now adjusted to fit into a common 12 week Semester, instead
of 13 weeks. In removing clef reading and improvisation, a 12-week lesson plan
is possible. The draft excluded work on the sub-dominant chord after Lesson 5.
This oversight is addressed in the final draft.
150 The ‘quick study’ is an assessment used in the on-site course requiring students to perform a short piece of piano music. The piece is not technically difficult and students have one week to learn it before performing it. This topic was left out because I did not want the focus of the course to include performance techniques and considerations. The goal objective of the course is introducing students to harmonic principles at the piano and the goal objective of the project is to determine whether learning Keyboard Harmony, not performance, is feasible in the online environment.
The following is the lesson plan used for this course, including the lesson content and objectives.
151 Final Version
Pre-course Test
Topics covered: • Play a chord progression that includes chords covered in the course. This is then to be transposed and played in the new key. • Play chords labelled in pop style, treble position and figured bass. • Harmonise a short melody using chords covered in the course.
Lesson 1 – Triads
Topics covered: • Introduction to chord playing using the chord exercise for right and left hand. Explain this as a preparatory exercise for the hand technique to assist in manoeuvring around the keyboard. • Introduction to the degrees of the scale and how chords are applied to it (tonic to leading note). • Introduction to pop chord analysis.
Objectives: o Construct a major and minor chord in both right and left hands in all keys. o Identify chords as major or minor. o Be able to identify and label a triad in pop chord style based on its tonality.
Lesson 2 – Treble and Bass position
Topics covered: • Introduction to treble triad position. • Introduction to bass position.
Objectives: o Play and identify major and minor triads in the right hand in the inversion indicated by the labelled treble position. o Play and identify major and minor triads based on the inversion indicated by the labelled bass position (figured bass).
Lesson 3 – Chord Labelling and Transposition
Topics covered: • Introduction to labelling diatonic chord progressions using Roman numerals and figured bass. • Further exercises with triads. • Different inversions of chords connected by a common tone.
152 • Introduction to transposition.
Objectives: o Play triads in their correct inversion based on the given figuring. o Identify and play all inversions of a diatonic chord from any given note. o Transpose a melody and chords into other keys.
Lesson 4 – Voice Leading
Topic covered: • Introduction to appropriate voice leading when moving between different diatonic triads.
Objectives: o Move between two chords with a common tone/s whilst keeping their common tones/s in the same voice/s. o Move between two chords without a common tone by moving all upper parts in contrary motion to the bass part.
Lesson 5 - Assessment
Topics covered: • Practice examples from the first four weeks.
Lesson 6 – Tonic, Dominant and Dominant Seventh Chords
Topics covered: • Introduction to the dominant and dominant 7th chord. • Introduction of the cadential 6/4. • Introduction to harmonization.
Objectives: o Play dominant and dominant 7th chords that resolve to the tonic, with correct voice leading. o Play a cadential 6/4 with correct voice leading. o Appropriately harmonise a short folk melody using dominant and tonic harmony.
Lesson 7 – Chord IV
Topic covered: • Introduction to the use of chord IV (subdominant) in a diatonic progression.
Objectives: o Play a short chord progression that includes chord IV.
153 Lesson 8 – Chord ii
Topic covered: • Introduction to the use of chord ii (supertonic) in a diatonic progression.
Objective: o Play a short chord progression that includes chord ii.
Lesson 9 – Chord vi
Topic covered: • Introduction to the use of chord vi (submediant) in a diatonic progression.
Objectives: o Play a short chord progression that uses chord vi. o Harmonise a short melody incorporating chord vi.
Lesson 10 – Chord iii
Topic covered: • Introduction to the use of chord iii (mediant) in a diatonic progression.
Objectives: o Play a short chord progression that includes chord iii. o Transpose a short chord progression that includes chord iii.
Lesson 11 – Revision
Topic covered: • Practice examples from week 6-10.
Lesson 12 – Post-course test
Objectives: o Play and transpose a chord progression that includes chords covered in the course. o Play chords labelled as letter-name, treble position and figured bass. o Harmonise a short melody using chords covered in the course.
As highlighted earlier, sight-reading, an important component of Keyboard
Harmony, is not included as a stand-alone topic. Reading the notated examples serves as an adequate amount of sight-reading for the purposes of this first
154 semester course. It is assumed that sight-reading will improve after familiarity with extensive chord exercises.
With this in mind, this lesson plan has a strong focus on playing diatonic chord progressions and transposing them. Each week’s lesson from week 6 onwards contains a chord progression to be practiced. Comparatively, there is less work on harmonisation, transposition of music other than chord progressions, and improvisation of melodies. This is to ensure a solid grounding in chord construction and playing is achieved.
Mechanics and Chord Function
The second approach to the design had a strong influence on the structure of the course. It divided the semester’s work into two distinct sections. The first of the sections I refer to as the ‘mechanics of chord playing’, and the second as the
‘harmonic function of chord playing’. The first section takes up the first four weeks of the semester, and the second section takes up the remaining weeks.
The mechanics of chord playing focuses on the practical techniques associated with playing chords. They involve instruction on playing chords and their inversions, reading different chord labels, voice leading, and introductory work on transposition using intervals. However, understanding the mechanics of playing chords is not the same as having an understanding of chord function.
This is what the next section focuses on.
155 The harmonic function of chord playing refers to the western tonal tradition of harmony. This order begins with tonic and dominant chords (I and V), subdominant (IV), and the remaining diatonic chords (ii, vi, and iii) with the exception of chord vii29.
The last approach to the lesson design was ensuring that the sequence of lessons progressed coherently. This was done, in part, by using Gagné’s nine events of instruction as a guide. These nine events aid in creating the conditions for learning to occur. As mentioned earlier, Gagné’s nine events of instruction are:
1. Gain attention 2. Inform learners of objectives 3. Stimulate recall of prior learning 4. Present the content 5. Provide “learning guidance” 6. Elicit performance (practice). 7. Provide feedback 8. Assess performance 9. Enhance retention and transfer to other contexts (Gagné R. M., 1985)
Each lesson is presented in a video format beginning with a clear statement of what will be learned in the lesson and its context within the course (Events 1 and
2). The recall of prior learning is used where appropriate (Event 3). An example of this involves participants using their knowledge of key signatures and scale degree names to transpose a melody and a chord progression.
Every lesson has the learning content presented at the beginning and summarised at the end of the lesson (Event 4). Where possible, the musical
29 As mentioned earlier, the complexity and importance of vii˚ and vii˚7 for beginners in Keyboard Harmony warrants one or more lessons on this chord. Due to the time restraints, however, it was not included for this course. It would be one of the first chords discussed in a hypothetical second semester online course.
156 examples are well known and demonstrate key points and concepts. Each lesson contains a demonstration at the piano of one of the practice items for that week
(Event 5).
The final three events on Gagné’s list cannot be strictly adhered to in these lessons. This is because of the nature of the online environment and asynchronous learning as I will not be able to witness the work they are doing in real time. These events can only be addressed if participants contact me directly seeking feedback on their work, either via email or Skype, or after the assessment tasks (Events 7 and 8). The last event, enhance retention, is not applicable because this is only a first semester course. Transferring knowledge to other contexts is achieved through the provision of various practice items and tasks, such as transposition.
Conclusion
This chapter has focused on instructional considerations to the design. Other design considerations, such as instructional video design, practice item design, and the design of the weekly printouts for participants have not been included.
This is because they were designed concurrently with their development and are discussed in the next chapter.
157 Chapter 6 - Development Phase
Introduction
The development phase converts learning objectives into a format that can be delivered to the learner. This involves the practice items, storyboards, and instructional video being created and setting up the online learning environment for use in the proceeding Implementation phase. The end result of this development phase is the online course being ready for use.
This chapter discusses the creation of all the instructional material used for the project. It begins by detailing the process of creating the handouts and practice items for each lesson. Outlining the steps taken to make the instructional videos follows this and includes the creation of the storyboards, recording, and audio/visual considerations.
The steps taken in the development phase do not follow any particular order.
The material for the course was created and completed at different times. The exception to this is the storyboards for the instructional videos. These were created prior to recording.
The following section details the development of all the printable material for the participants to use at their piano.
158
Lesson Handouts and Practice Items
For each lesson in this course, there are two pages for participants to print out.
The first page contains the ‘lesson notes’: a summary of the main points discussed in the lesson videos. The second page, the ‘worksheet’, contains all the practice items for participants to work on after watching the lesson video. The complete set of lesson notes and work sheets used for this course can be found in
Appendix F.
Each week’s lesson notes and worksheet page were created using Finale 2011.
Using the ‘test page’ template, I followed the lesson plan layout to ensure the crucial points were covered. The following Figure 18 is the Finale 2011 template
I worked from:
159 Today's Assignment Course
1. (first question)
& 4 ! ! ! !
? 4 ! ! ! !
2. (second question)
& ! ! ! !
? ! ! ! !
3. (third question)
& ! ! ! !
? ! ! ! !
4. (fourth question)
& ! ! ! !
? ! ! ! !
Figure 18: Lesson notes and work sheet template in Finale 2011
Using the edit features available in the program, the template was modified and experimented with to find a suitable layout for the lesson content. The following
Figure 19 is of the first week’s lesson notes used in this project.
160
Online Keyboard Techniques Course
Week 1 - Chords Lesson Notes
1. The Scale Degrees - Try to memorise these œ œ names as they are terms & œ œ Tonicœ Supertonicœ Mediantœ Subdominant Dominant Submediant Leadingnote we will be using throughout the course.
2. A C major Tonic chord in Root Position is built with the 3rd and 5th degrees of the scale & œ Œ w above it. œ 1st œ 3rd 5th wTonic Chord in Root Position.
3. An inversion of a chord is where the bottom of the Root position chord ais placed an octave higher. This can be done twice with chords that only have 3 notes (triads) as in this example. w w The definition of an inversion of a chord, & w w w however, is dependant on the lowest sounding w note.
4. Pop chords are chords that are labeled by their letter name. The letter 'C' for example ˙ ˙ ˙ ˙ means a c major chord. The letter 'Cm' means a & ˙ b˙ ˙ b˙ c minor chord. To change its inversion, we add a slash followed by the name of the note we want in the bass part. A 'c' major chord in first inversion, for exmple would be written as 'C/E' ? or a cminor chord written in first inversion ˙ ˙ ˙ b˙ would be written as 'cm/eb'. Remember, with pop chord labeling, it does not matter what C cm C/E cm/eb order the notes in the right hand are provided C major c minor C major c minor that the lowest note is, usually in the left hand, Root Position Root Position 1st Inversion 1st inversion is the same as the letter of the chord (or the letter after the slash when using inversions).
Figure 19: Example of the lesson notes for the online course
Adobe Acrobat was used to format the PDF and include a University of Newcastle
Logo on the lesson notes and work sheets. The logo was included for compliance reasons but added a professional quality as a result.
The same method was used to create the worksheets for each week. The following Figure 20 is the first week’s worksheet.
161
Online Keyboard Techniques Course Week 1 - Chords Work Sheet
1. Play the following œ œ exercise, hands together, in œ œ œ œ œ b b œ œ œ œ œ all Major keys. The first 2 & œ œ œ œ œ ˙ b b b œ œ œ œ œ ˙ keys are displayed for you. œ œ œ ˙ œ ˙ This exercise may take several weeks to learn. œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ ˙ b œ œ œ œ œ ˙ œ ˙ b bbb œ ˙
2. Play the following œ # œ exercise, hands b œ œ œ œ œ n ## # œ œ œ œ œ together, in all Minor & b b œ œ œ œ œ ˙ n n œ œ œ œ œ ˙ keys. The first 2 keys œ œ œ ˙ œ œ œ ˙ are displayed for you. This exercise may take œ œ œ œ œ œ several weeks to learn. ? œ œ œ œ œ œ ˙ # # œ œ œ œ œ œ ˙ bbb œ œ œ ˙ nnn # # œ œ œ ˙
3. Play then label the following chords by their letter name (Pop ˙ ˙ Chord style). & ˙ ˙ ˙ #˙ b˙ ˙ ˙ b˙ ˙ #˙ ˙ ˙ b ˙ ˙ ˙ b ˙ ˙ ## ˙
? ˙ ˙ ˙ ˙ ˙ ˙ b˙ #˙ #˙ ˙
4. Construct and play the following chords labeled ? with their letter name (Pop Chord Style). Use D fm Db/Ab G/B Bbm E/G# F#m/A C one note in the left hand and the rest of the chord in the right hand.
Remember, if you have any difficulty with any of these tasks, please do not hesitate to email me at - [email protected]
Figure 20: Example of the work sheet for the online course
162 The lesson notes and worksheets are no larger than one page in size. This was to keep the presentation and workload consistent and to minimize the amount of paper for participants to print out.
The following section outlines and discusses the process of creating the practice items for the course.
Practice Items
Practice items assist in developing the skills necessary to achieve enabling and target objectives. Practice items allow learners to demonstrate instruction that has been delivered and receive feedback from their teacher. They are presented to participants immediately after the instruction is presented to ensure the context is not lost.
Practice items assess whether or not the learner sufficiently understands the instruction being delivered. If the learner is unable to perform the practice item then it indicates the entry-level skills are too high or the practice item has been poorly designed. The fundamental goal of practice items in this course is to prepare participants for the test items in the post-course test.
The next section details the practice items created for each lesson in this project.
The practice items correlate with the lesson and course objectives created in the analysis and design phase. The labelling of the objectives refers to the test item
163 number and the task number30. All practice items were created using Finale 2011
music publishing software.
Week 1
The Introductory Lesson prepares keyboard players for work with diatonic
harmony. Part of this preparation requires participants to play all major and
minor chords in all positions. To address this, the practice item used is an Online Keyboard Techniques Course exercise requiring participants to play all major and minor chords in all Week 1 - Chords inversions, as the following figureWork Sheet 21 illustrates.
1. Play the following œ œ exercise, hands together, in œ œ œ œ œ b b œ œ œ œ œ all Major keys. The first 2 & œ œ œ œ œ ˙ b b b œ œ œ œ œ ˙ keys are displayed for you. œ œ œ ˙ œ ˙ This exercise may take several weeks to learn. œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ ˙ b œ œ œ œ œ ˙ œ ˙ b bbb œ ˙
2. Play the following œ # œ exercise, hands b œ œ œ œ œ n ## # œ œ œ œ œ together, in all Minor & b b œ œ œ œ œ ˙ n n œ œ œ œ œ ˙ keys. The first 2 keys œ œ œ ˙ œ œ œ ˙ are displayed for you. This exercise may take œ œ several weeks to learn. œ œ œ œ œ œ œ œ œ œ ? b œ œ œ œ œ ˙ n # # œ œ œ œ œ ˙ b b œ œ œ ˙ n n # # œ œ œ ˙
3. Play then label the following chords by Learner Task: Play the exercise hands together Objective (T1-8): Construct and play all major their letter name (Pop in all major and minor keys.˙ and minor triads. Chord style). ˙ ˙ ˙ & ˙ ˙ ˙ #˙ bb˙ ˙ ˙ b˙ ˙ #˙ ˙ ˙ ˙ b ˙ ## ˙
Figure ? 21: Week 1 practice item for playing major and minor triads in any position.˙ ˙ ˙ ˙ ˙ ˙ b˙ #˙ #˙ ˙
4. Construct and play the This practice item is arguably the most difficult to master for participants who following chords labeled ? with their letter name (Pop Chord Style). Use are beginners D fm at Db/AbKeyboard G/B Harmony Bbm E/G#. It F#m/A is an C exercise that is simple to one note in the left hand and the rest of the chord in the right hand. understand but time consuming to master without adequate experience in chord
Remember, if you have30 anyFor example: Test item 1, task objective 3 = T1 difficulty with any of these tasks, please do -not 3. hesitate to email me at - [email protected]
164 playing. Participants are required to play through every major and minor chord
including their inversions, at a steady tempo in both hands. This ability is
essential for achieving all other enabling objectives and successfully completing
Online Keyboard Techniquesthe test items Course .
Week 1 - Chords Work Sheet The other practice items included in Week 1 involve chord labelling by their
1. Play the following letter name in a keyboard styleœ . It is important to note œ œ œ that these are referred to exercise, hands together, in œ œ œ œ œ bb b œ œ œ œ œ Onlineall Major Keyboard keys. The Techniques first 2 Course& œ œ œ œ œ ˙ b b œ œ œ œ œ ˙ keys are displayed for you. œ œ œ ˙ œ ˙ This exercise may take as ‘pop style’ chords in this course. As mentioned earlier, this method of chord several weeks to learn. œWeek 1 - Chords œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ ˙ b œ œ œ œ œ ˙ labellingœ is being used to assist students from a pop musicWork ˙Sheet b bbb œ ˙ or jazz background. The practice items, seen below, require the participant to play and label the 1. Play the following œ œ œ œ exercise,2. Play the hands following together, in œ œ œ œœ œ bb #b # œ œ œœœ œ allexercise, Major keys.hands The first 2 & œbb œ œœ œ œœ œœ œ˙ nn b #b #œ œ œœ œ œœœœœ˙ keystogether, are displayed in all Minor for you.chords & œ in b œ the œ œ first œ œ example, ˙˙ and n œto œ œplay œ the œ œ˙ chords ˙ labelled in the second Thiskeys. exercise The first may 2 keys take œ ˙ œ ˙ severalare displayed weeks tofor learn. you. œ œ œ œ œ œ This exercise may take example. Writing out the chords œ œ œœ œœ œœ on œ the manuscript paper is at the discretion of œ œ œœœœœœ ˙ several weeks to learn. ? œ œœ œœ œ œœ œœ œ˙˙ b b # œ œœ œ œ œ œœœ˙˙ ? bb œ œ œ ˙ nbn b##b # œ œ œ ˙ the participantb . n
3. Play then label the 2.following Play the chordsfollowing by exercise, hands b œ œ œ n # # œ œ œ their letter name (Pop b˙b œ œ œ œ œ n n # # œ œ œ œ œ together,Chord style). in all Minor & ˙ œ˙œ œ˙ œ œ b˙ œ œ œ ˙œ œ ˙ keys. The first 2 keys & ˙ œ˙ ˙ #˙ b ˙ ˙ ˙ œ b˙ ˙ ˙#˙ are displayed for you. ˙ ˙ ˙ b ˙ ## ˙ This exercise may take œ œ œ œ œ œ several weeks to learn. ? œ œ œ œ œ œ ˙ # # œ œ œ œ œ œ ˙ ? bb œ œ œ ˙ nn # # œ œ œ ˙ ˙b ˙ ˙ ˙ n ˙ b˙ #˙ #˙ ˙ 3. Play then label the following chords by their4. Construct letter name and (Pop play the Learner ˙ Task: Play then label the following Objective (T2a-3): Identify letter-name symbols Chord style). ˙ ˙ ˙ following chords labeled chords by their letter name.&? ˙ ˙ ˙ #˙ b˙ ˙ ˙ b˙ from given major and minor triads.˙ #˙ with their letter name ˙ ˙ b ˙ ˙ ˙ b ˙ ˙ ## ˙ (Pop Chord Style). Use D fm Db/Ab G/B Bbm E/G# F#m/A C one note in the left hand and the rest of the chord Figure 22: Week 1 practice item for labelling letter-name chords in the right hand. ? ˙ ˙ ˙ ˙ ˙ ˙ b˙ #˙ #˙ ˙
4. ConstructRemember, and play if youthe have any difficulty with any of these tasks, please do not hesitate to email me at - following chords labeled ? [email protected] with their letter name (Pop Chord Style). Use D fm Db/Ab G/B Bbm E/G# F#m/A C one note in the left hand and the rest of the chord in the right hand.
Learner Task: Construct and play the following Objective (T2a-1): Construct and play triads chords labelled with their letter name. from a given Letter-name symbol. Remember, if you have any difficulty with any of these tasks, please do not hesitate to email me at - [email protected]
165 Figure 23: Week 1 practice item for realising letter-name chords
Week 2
The practice items in this week’s lesson continue from where the first week
finished by furthering the work on chord labelling. The first practice items
address ‘Treble position’, the concept I added for the course to address the
teaching challenge of teaching students only being able to form root position
Online Keyboard Techniqueschords in their right hand. The following Figures are the practice items used to Course
address WeekTreble 2 - Treble position and. Bass In the Position first example, the first four chords are major Work Sheet chords, and the last four are minor chords. ^ ^ ^ ^ ^ ^ ^ ^ 3 3 1 5 1 5 3 3 Online1. Play Keyboard the following Techniques Course chords labeled in Treble bw w w position. The first 4 chords & w #w w w #w are minor chords and the Week 2 - Treble and Bass Position last four chords are major chords. Work Sheet Learner Task: Play the following chords in the Objective (T2a-5): Construct and play major and given Treble position. The first four chords are minor triads from a given Treble position. ^ ^ ^ ^ ^ ^ ^ ^ 2. Play and label the minor and the last four chords are major. 3 3 1 5 1 5 3 3 following1. Play the chords following in bw b bw Treblechords position.labeled in Treble & #w w bw #ww w bbw b ww w position. The first 4 chords & ww #ww w # w ww ww w are minor chords and the Figure 24: Week 2 practice item for realising treble positionw # ww last four chords are major chords.
2.3. Play Play and the labelfollowing the followingchords labeled chords in in Bass ? w bw bw w bww b bw Trebleposition position. (Figured Bass) & #w bww w #w ww b w b#w w in the left hand. The first 5w 6 6w # w w5 w6 w 6 6 w 5 four chords are minor 3 3 3 3 4 4 3 3 chords and the last four chords are major chords. Learner Task: Play the following chords, and Objective (T2a-6): Identify Treble position from identify them with Treble position labelling. given major and minor triads.
3. Play the following chords4. Play labeledand label in theBass w following chords in Figure ? ww25: Week 2 practice w bw item w for labellingw #treble positionw w position (Figured Bass) & w bww w w bww n w ###ww w inBass the position left hand. (Figured The first 5 6w w6 w 5 6 w6 6 w 5 fourBass). chords are minor 3 3 3 3 4 4 3 3 chords and the last four chords are major chords. ? w w w w w bw #w w The other examples in this week’s lesson address figured bass. These practice 4. Play and label the w following chords in & w w w w bw n#w #w w Bass position (Figured w w w w w w # w w Bass). items follows the same format of playing examples and writing examples.
? w w w w w bw #w w 166 Remember, if you have any difficulty with any of these tasks, please do not hesitate to email me at - [email protected]
Remember, if you have any difficulty with any of these tasks, please do not hesitate to email me at - [email protected] Online Keyboard Techniques Course Week 2 - Treble and Bass Position Work Sheet
^ ^ ^ ^ ^ ^ ^ ^ 3 3 1 5 1 5 3 3 1. Play the following chords labeled in Treble w bw w w Onlineposition. Keyboard The first Techniques 4 chords Course& #w w w are minor chords and the #w last four chords are major chords. Week 2 - Treble and Bass Position Work Sheet 2. Play and label the following chords in bw Treble position. & #^w ^b w ^ # w^ w ^ b w ^ b b w^ ^ 3w 3 w w1 # w 5 w 1 b w 5 3 3w 1. Play the following w w w chords labeled in Treble w w position. The first 4 chords & w #w bw w w are minor chords and the #w last four chords are major chords. 3. Play the following chords labeled in Bass ? w position (Figured Bass) w bw bw w #w w 2.in Playthe left and hand. label Thethe first 5 6 6 w 5 6 6 6 5 followingfour chords chords are minor in 3 b3w 3 w3 4 b w4 b b 3w 3 Treblechords position. and the last four & #w w w #w w b w b w w chords are major chords. w w # w w w w
Learner Task: Play the following chords labelled Objective (T2b-6): Construct and play major and in Figured Bass. The first four chords are minor minor triads from a given Figured Bass symbol. 4. Play and label the w following chords in and the last four chords are major.& w w w w bw n#w ##w w Bass3. Play position the following (Figured w w w w w Bass).chords labeled in Bass ? w bw w position (Figured Bass) Figure 26: Week 2 practice item for realising figured bassbw w #w w in the left hand. The first 5 6 6 w 5 6 6 6 5 four chords are minor ? 3w 3 3 w 3 4 w 4 # w3 3 chords and the last four w w bw w chords are major chords.
4. Play and label the w following chords in & w w w w bw n#w #w w Bass position (Figured w w w w w w # w w Bass). ? Remember, if you have any difficultyw with any of these tasks,w please do not hesitatew to# wemail mew at - [email protected] w bw
Learner Task: Play and label the following Objective (T2b-7): Identify Figured Bass symbols chords using Figured Bass. from given major and minor triads.
Figure 27: Week 2 practice item for labelling figured bass
Remember, if you have any difficulty with any of these tasks, please do not hesitate to email me at - [email protected] Week 3
This lesson continues with chord labelling and introduces participants to Roman
numerals. The introduction of Roman numerals familiarises participants with
building chords based on major and minor scale degrees. This method of chord
labelling is then used to assist with transposition and prepare participants for
the first test item.
The first practice items follow the same format as the other chord labelling
practice items. Participants label the written chords using Roman numerals and
then play the Roman numerals as chords. There is no information given
regarding what can be considered a logical progression. The chords are not
167 ordered to sound random; however, it is possible that the chords will appear Online Keyboard Techniques Course random to participants. Work on appropriate chord progressions is introduced Week 3 - Chord Labeling and Transposition in week 6. The first two prWork Sheet actice items created for week 3 are as follows.
Online Keyboard Techniques Course 1. Play and label the # following chords using 4 œ œ œ œ œ Roman Numerals to & 4 œ œ œ œ œ œ œ œ indicate their scale Week 3 - Chordœ Labelingœ œ and Transpositionœ œ degree. Make a note of what key you are in. Work Sheet ? # 4 œ 4 œ œ œ œ œ œ œ 1. Play and label the # Objective (T1-3): Identify Roman numeral following chords using Learner 4 Task: œ œ Play and œ label œ the following œ œ œ œ Roman Numerals to chords & 4 using œ Roman œ Numerals œ to œ indicate œ their œ symbols from given major and minor chords.œ œ indicate2. Play the their following scale scale degree. œ degree.chords labeledMake a using note of ? 4 whatRoman key Numerals you are in.in b 4 the same format as iii V I ii IV vi V I Question 1. Figure ? # 284 : Week 3 practice item for œ labelling Roman numerals 4 œ œ œ œ œ œ œ 3. Transpose and play the following chords 4 in C major into D & 4 ˙ ˙ ˙ ˙ major.2. Play the following ˙ ˙ ˙ ˙ chords labeled using ? 4 Roman Numerals in b 4 the same format as ? 4 iii V I ˙ ii ˙ IV vi V I Question 1. 4 ˙ ˙ I IV V I 3. Transpose and play the following chords 4 in C major into D Learner Task: Play the following chords & 4 ˙ ˙ ˙labelled Objective ˙ (T1-2): Construct and play major and major.4. Transpose this with Roman Numerals.˙ ˙ ˙ minor chords using Roman n˙ umerals. melody into Bflat 4 Major & 4 œ œ œ œ œ œ œ œ œ ˙ œ Figure ? 4 29˙ : Week 3 practice item ˙ for realising Roman numerals˙ I IV V I b 4 After & b in4 troducing instruction on Roman numerals, participants now apply that 4. Transpose this melody into Bflat 4 Major work with practice items involving transposition. These practice items include a & 4 œ œ œ œ œ œ œ œ œ œ
Pleasechord progression and single note melody to b note that if you have not mastered your chord exercise from Week 1,e played in the given k you should ey as well continue to practice it as it will be required for your week 5 assessment task. For help,bb contact4 me at [email protected] as& the 4 nominated key. Participants are encouraged to practice these items
without writing them out in the new key. The remaining practice items for week
Please3 are shown in the following figure. note that if you have not mastered your chord exercise from Week 1, you should continue to practice it as it will be required for your week 5 assessment task. For help, contact me at [email protected]
168 Online Keyboard Techniques Course
Week 3 - Chord Labeling and Transposition Work Sheet
1. Play and label the # following chords using 4 œ œ œ œ œ œ œ œ OnlineRoman Keyboard Numerals Techniques to & Course4 œ œ œ œ œ œ œ œ indicate their scale œ œ œ œ œ degree. Make a note of what key you are in.Week 3 - Chord Labeling and Transposition ? # 4 œ œ œ 4 Workœ Sheetœ œ œ œ
1.2. Play andthe followinglabel the # followingchords labeled chords using using ? 44 œ œ œ œ œ Roman Numerals toin & b 44 œ œ œ œ œ œ œ œ indicatethe same their format scale as œ iii Vœ I œ ii IV œ vi V œ I degree.Question Make 1. a note of what key you are in. 3. Transpose and play ? # 4 œ œ œ the following chords 4 4 œ œ œ œ œ in C major into D & 4 ˙ ˙ ˙ ˙ major. ˙ ˙ ˙ ˙
2. Play the following chords labeled using ?? 44 ˙ ˙ Roman Numerals in b44˙ ˙ the same format as I iii V I IV ii V IV vi I V I Question 1.
3.4. Transpose andthis play Learner Task: Transpose and play the following Objective (T1-3): Identify Roman Numeral themelody following into Bflat chords chords from C major into D major.4 symbols from given major and minor chords. Major & 4 œ˙ ˙ œ ˙ ˙ in C major into D ˙ œ œ˙ œ œ˙ ˙ major. ˙ ˙ ˙ œ œ˙ œ œ Figure 30: Week 3 practice item for transposition of chords ˙ ? 4b ˙ ˙ ˙ & b4 4 I IV V I
4. Transpose this melody into Bflat 4 œ Major & 4 œ œ œ œ œ œ œ Please note that if you have not mastered your chord exercise from Weekœ 1,œ you should continue to practice it as it will be required for your week 5 assessment task. For help, contact me at [email protected] b & b 4
Learner Task: Transpose this melody into Bb Objective (T1-4): State what Roman numerals major. and scale degrees represent.
Please note that if you have not mastered your chord exercise from Week 1, you should continue to practice it as it will be required for your week 5 assessment task. ForFigure help, 31contact: Week 3 practice item for transposition of melodies me at [email protected]
The inclusion of both a chord progression and melody transposition exercise is
to highlight different approaches to transposing. The first approach involves
shifting entire chords based on their inversion and their scale degree. The
second approach involves the use of intervals and scale degrees. These different
approaches are used to encourage participants to use whole chords when
transposing a chord progression, rather than transposing one tone of the chord
at a time.
Week 4
Although voice leading is not a requirement in any test item, it was important to
include practice items to develop this skill. The inclusion of voice leading as a
169 learning area will assist participants in finding common tones and lead to a
better understanding of chord relationships. Practice items on voice leading will
ultimately assist with the post-course test.
The following practice items require the participant to play chords with either
one or two notes in common and are played in various keys. It doubles as a way
Online Keyboard Techniques Course of reinforcing the earlier practice in Week 3 on Roman numerals and Week 4 - Voice Leading transposition. Work Sheet
1. Play the first chordal progression in G, D and A major and the second chordal 4 œ œ ˙ b œ œ ˙ progression in G,D and A minor. Ensure that & 4 œ œ ˙ b b œ œ ˙ the correct voice leading is used.
? 4 b 4 Iœ Vœ ˙I b b œ i œ VI ˙ i
2. Play and try to memorise the following chordal Learner exercise. Task: Play the chord progressions in Objective (T1-3): Identify Roman numeral Note that each chord change only moves one note in the right symbols from given major, minor, and seventh hand and passes through all 24 keys. various keys, ensuring smooth voice leading. chords. Online Keyboard Techniques Course
œ œ œ bœ œ #œ #œ #œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ bœ œ bœ œ bœ Figure œ b 32œ: Week 4 practice item for identifying common tonesbœ# œ œ œ #œ œ œ œ œ œ œ . & œ œ œ œ bœ œ œ œ b œ œ œ bœ b œ œ n œ œ œ Week 4 - Voice. Leading Work Sheet œ œ bœ œ bœ The next bœ practice item is a voice leading exercise by Frederich Wieck (1785- ? œ œ bœ œ œ bœ bœ œ #œ œ . bœ œ #œ œ #œ œ œ œ 1873). Each chord change shares two common notes and every major and minor 1. Play the first chordal progression in G, D and A major and the second chordal 4 œ œ ˙ b œ œ ˙ progression in G,D and A minor. Ensure that & 4 œ œ ˙ b b œ œ ˙ chord is used. It has bass line has been modifiedthe correct voice leading is used. so that single notes, instead of
3. Create your own chordal octaves, are played. As can be seen in ? the 4 following figure, b this practice item progression that uses the given 4 Iœ Vœ ˙I b b œ i œ VI ˙ i chords and then tranpose it to 3 different keys ensuring that the voice 4moves from first inversion, second inversion and root position2. Play and try! to memorise the following chordal! exercise. , respectively. leading remains the same in the new & 4 Note that each chord change only moves one note in the right key. Remember to find the notes in hand and passes through all 24 keys. common. If it helps, write it down. ? 4 œ œ œ bœ œ #œ #œ #œ œ œ #œ #œ œ œ œ 4 œ œ œ œ bœ œ bœ œ bbœ œ bœ bœ bb œ bœ#n œ œ œ #œ œ œ œ œ œ œ . I& œ œ œ iiœ œ œ œ Vœ I
œ œ bœ œ bœ bœ ? œ œ bœ œ œ bœ bœ œ #œ œ . Remember, if you have any difficulty with any of these tasks, please do not hesitate to bœ œ #œ œ #œ œ œ email me at - [email protected] œ Learner Task: Play and attempt to memorize the Objective (T1-8): Construct and play major and chord exercise. minor triads.
3. Create your own chordal progression that uses the given 170 chords and then tranpose it to 3 different keys ensuring that the voice 4 ! ! leading remains the same in the new & 4 key. Remember to find the notes in common. If it helps, write it down. ? 4 I ii V I
Remember, if you have any difficulty with any of these tasks, please do not hesitate to email me at - [email protected] Online Keyboard Techniques Course
Week 4 - Voice Leading Work Sheet
1. Play the first chordal progression in G, D and A major and the second chordal 4 œ œ ˙ b œ œ ˙ progression in G,D and A minor. Ensure that & 4 œ œ ˙ b b œ œ ˙ the correct voice leading is used.
? 4 b 4 Iœ Vœ ˙I b b œ i œ VI ˙ i 2. Play and try to memorise the following chordal exercise. Note that each chord change only moves one note in the right hand and passes through all 24 keys. Figure 33: Week 4 practice item for voice leading bœ œ #œ #œ œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ œ bœ œ bœ bœ bb œ bœ#n#œ œ œ #œ œ #œ #œ œ œ œ . & œ œ œ œ œ œ œ œ b œ œ œ . The final practice item for Week 4 requires the participant to voice their own ? œ œ œ bœ œ bœ œ bœ œ bœ œ bœ bœ bœ œ œ #œ œ œ . chord progression. # Using œ the œ given #œ Roman numeralsœ œ , participants must ensure
smooth voice leading is used.
3. Create your own chordal progression that uses the given chords and then tranpose it to 3 different keys ensuring that the voice 4 ! ! leading remains the same in the new & 4 key. Remember to find the notes in common. If it helps, write it down. ? 4 I ii V I
Learner Task: Voice and play your own chord Objective (T1-2): Construct and play major, Remember, if you have any difficultyprogression based on the given Roman Numeral with any of these tasks, please do not hesitate to minor, and seventh chords using Roman email me at - [email protected]. Transpose it into various keys. numerals.
Figure 34: Week 4 practice item for realising appropriate voice leading
Week 5
The practice items for this week are revision exercises reinforcing the work
presented in the course thus far. These practice items are designed to imitate a
mid-semester assessment found in tertiary courses. Participants are required to
upload a recorded video of the assessment, but the results of it are not being
considered for this project. I wanted the course to provide participants with a
realistic tertiary Keyboard Harmony experience, including mid-semester
assessment tasks.
There are four questions and each is based on the relevant week of the course.
The assessment task items are displayed below in Figure 35.
171 Online Keyboard Techniques Course Week 5 - Assessment Task Assessment Questions
All the following questions are to be recorded œ with video or audio or played live via skype 4 œ œ œ œ œ & 4 œ œ œ œ œ ˙ 1. Play the following chordal exercise from œ ˙ week 1 - Play C, Dflat, D, Eflat, E, F, F# and G major fluently. œ œ œ œ œ œ œ œ œ ˙ ? 4 œ œ œ ˙
^ ^ ^ 3 8 5 2. Play the following chords labeled in pop chord, figured bass (bass position) and treble positions. The figured bass chords in the 2nd bar are all major chords. & œ œ bœ
? œ œ ˙ bœ œ Bb/F cm f#m/a 6 6 5 œ 3 4 3
3. Play the following chords labeled with Roman Numerals in the key of C major ? 4 I vi IV I
# 4 4. Play the following chord progressions in G & 4 major ensuring smooth voice leading.
? # 4 I V I I iii V
Objectives (T1-7): Construct and play major and minor triads. (T2a-1): Play chords from given letter-name symbols and treble position notation. Unless stated otherwise, all chords are to be played with one note in the left hand and 3 notes in the right hand. (T1This- 2): Construct and play major and minor chords using Roman numerals. assessment task is worth 33% of your total mark for the course. If you are having any difficulty with any of the questions or wish to express any concerns then please do not hesitate to contact me at [email protected]. Good luck. Figure 35: Week 5 mid-semester assessment task
Week 6
The practice items for Week 6 to Week 10 introduce a different diatonic chord in each lesson. The order of these chords is based on what I consider to be the importance of their function. Week 6 introduces students to the tonic and dominant (and dominant 7th) chords, as well as the cadential 6/4. The first practice item is a chord progression using dominant seventh chords and their inversions, as well as transposing it into given keys. Some chords have
172 intentionally been voiced incorrectly during week 6-10, such as a doubled 3rd in
chord I after a dominant 7th chord. This was to avoid more advanced lessons on
voice-leading, such as the leading note to tonic, the seventh of the chord falling in
the next chord (except for V 4/3 to I6) or avoiding an an augmented 2nd in a
minor key. It is more important to get students playing chords and getting a
Online Keyboard Techniques Course broad understanding of chord progressions before going into greater detail. Week 6 - Tonic and Dominant Chords Work Sheet
1. Play the following progression œ œ in the given key and the keys of b 4 œ œ œ œœ œ œ œ œœ w Bb and Eb major. & 4 œ œ œ œ œ œ œ œ w
? 4 œ œ b 4 œ œ œ œ œ œ w I I6 V V6/5 I V4/2 I6 V4/3 I
Learner Task: Play the progression in the given Objective (T1-6): Construct and play dominant 3. Harmonise the following melodieskey and transpose it into Bb and Eb major. using either a Tonic or Dominant chord in the left hand. Playand minor seventh the left chords. hand chords in root positionOnline first and Keyboard then experiment Techniques with Course different inversions. a Online Keyboard Techniques Course # 4 j Week 6 - Tonic and Dominant Chords & # 4 œ œ œ Figure œ. 36: Week 6 practice item for playing dominant seventh chordsœ ˙ œ œ œ œ œ œ œ œ œ œ œ Work Sheet œ œ œ Work Sheet b The second practice item in Week 6 introduces participants to harmonizing a # # 4 œ # œ œ 1. Playœ the followingœ œ progressionœ œ œ œ œ œ ˙ & 4 œ œin the givenœ key and˙ the keys of 4 œ œ œ œ inmelody, the given key beginning and the keys of the & preparation b 4 œ œ œ for œ the œ third œ œ test œ item. œœ w Participants are to Bb and Eb major. & 4 œ œ œ œ œ œ œ œ w harmonise the following melodies using either a tonic or dominant chord in root 2. Practice the following 8 bar exceprt from Haydn's 'Quadrille'. It ?contains4 only Tonic and Dominantœ œ harmony. Once you have familiarised yourself with it, improvise a? veryb simple4 melodyœ overœ theœ givenœ left œ œ hand part and see what you comeposition up with. Remember, where to think appropriate. of the chordsb 4 youœ These areœ using items and what also notes encourage theyœ œ œ participants w to use a contain. For an extra challenge, try playing and improvising a melody with Ithe chords I6 Vin a V6/5different key.I V4/2 I6 V4/3 I cadential 6/4. 3. Harmonise the following melodies using either a Tonic or Dominant chord in the left hand. Play the left hand chords in root position first and then experiment with different inversions. 3 ˙ahand chords inœ root positionœ first and then experiment˙ with differentœ inversions. & 4 œ œ œ œ œ a œ œ œ œ œ œ œ œ œ œ œ œ ˙ ## 4 œ. j & # 4 œ œ œ œ œ. œ ˙ œ œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? 43 œ œ œ œ œ œ œœ œœœœ œ œ œ œ œ œ œ œ œ œœ œœœœ œ b œ # # 4 œ & ## 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ & 4 œ œ œ œ œ œ œ ˙ œ œ œ ˙ [email protected] - Please email me if you need any help. Learner Task: Harmonise the melodies using Objective (T3-2): Identify the diatonic chords either a tonic or dominant chord in the left hand. that include the pitches in a given melody. 2. Practice the following 8 bar exceprt from Haydn's 'Quadrille'. It contains only Tonic and Dominant harmony. Once you have familiarised yourself with it, improvise a very simple melody over the given left hand part and see what you come up with. Remember to think of the chords you are using and what notes they Figure hand part37 and: Week 6 practice item for harmonising with tonic and see what you come up with. Remember to think of the chords youdominant chords are using and what notes they contain. For an extra challenge, try playing and improvising a melody with the chords in a different key.
3 œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙ œ œ œ ˙ 173& 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
? 3 œ œ œ œ œ œ œœ œœœœ œ œ œ œ œ œ œ œ œ œœ œœœœ œ ? 43 œ œ œ œ œ œ œœ œœœœ œ œ œ œ œ œ œ œ œ œœ œœœœ œ œ
[email protected] - Please email me if you need any help. Online Keyboard Techniques Course Week 6 - Tonic and Dominant Chords Work Sheet
1. Play the following progression œ œ in the given key and the keys of b 4 œ œ œ œœ œ œ œ œœ w Bb and Eb major. & 4 œ œ œ œ œ œ œ œ w
? 4 œ œ b 4 œ œ œ œ œ œ w I I6 V V6/5 I V4/2 I6 V4/3 I
3. Harmonise the following melodies using either a Tonic or Dominant chord in the left hand. Play the left hand chords in root position first and then experiment with different inversions. a # j & # 4 œ œ œ. œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
The b final practice item for Week 6 encourages improvisation. Rather than # # œ & # 4 œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ harmonise a melody with tonic and dominant chords, participants are required œ œ ˙
to improvise a melody over the given left hand accompaniment from Haydn’s 2. Practice the following 8 bar exceprt from Haydn's 'Quadrille'. It contains only Tonic and Dominant harmony. Once you have familiarised yourself with it, improvise a very simple melody over the given left Quadrillehand part and (Hob see whatlx29) you come. up with. Remember to think of the chords you are using and what notes they contain. For an extra challenge, try playing and improvising a melody with the chords in a different key.
˙ œ ˙ & 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? 43 œ œ œ œ œ œ œœ œœœœ œ œ œ œ œ œ œ œ œ œœ œœœœ œ œ Learner Task: Play the original piece and then Objective (T3-2): List the possible diatonic improvise a melody over the left hand part. chords that include the pitches in a given [email protected] - Please email me if you melody.need any help.
Figure 38: Week 6 practice item for improvisation with tonic and dominant chords
Improvisation is not a target objective for this course and is not found in any test
item. It serves as a means to reinforce work on chords by encouraging
participants to think about chord tones and non-chord tones. Improvisation is an
important Keyboard Harmony concept encouraging creativity and develops
aural skills. It is more important, however, to have a good understanding of how
chords function together before focusing on improvisation as its own learning
area.
Week 7
The practice items for Week 7 introduce participants to the subdominant chord.
There are two progressions, one in a major key and the other in a minor key.
This is to emphasise the different quality of the subdominant chord depending
174 Online Keyboard Techniques Course
Week 7 - The SubDominanton whether the key is Chord (IV)major or minor. The second example reinforces the work Work Sheet on the cadential 6/4 from the previous week’s work.
Online Keyboard Techniques Course
1. Play the following chordalWeek progression 7 - The in theSubDominant 4 Chord (IV)œ œ œ ˙ original key and in the keys of F and G major. & 4 œ œœ œ œ œ œœ ˙ Work Sheet œ œ œ
? 4 œ 4 œ œ œ œ œ ˙
1. Play the following chordal progression in the Learner 4 Task: Play the progression and then Objective (T1-1): Transpose a diatonic chord original key and in the keys of F and G major. œ œ œ ˙ transpose it into F and G major.& 4 œ œœ œ œ œ œœ ˙ progression. œ œ 2. Play the following progression in the 4 œ œ œ œ œ œ original key and in the keys of d and e minor. & 4 œ #œ œ œ œ #œ ˙ Online Keyboard Techniques Course œ œ œ œ œ ˙ Figure ? 4 39: Week 7 practice item for using chord IV in a major keyœ œ 4 œ œ œ œ ˙ Week 7 - The SubDominant Chord (IV) ? 4 4 œ œ œ œ Work Sheetœ œ ˙ 2. Play the following progression in the 4 œ œ œ œ œ œ ˙ original key and in the keys of d and e minor. & 4 œ #œ œ œ œ #œ ˙ 3. Play the following chords labeled in Figured bass and Pop chord style. Use one note in the ? # # 4 left1. Playhand the and following the rest of chordal the chord progression in the right in the #4# 4 œ œ œ œ ˙ hand.original key and in the keys of F and G major. ?&4 4 œ œ œœ œœ œ œ œ œ œ ˙ 4 œ œ œ5 œ 6 œ 6 œ - 5 œ A f#mœ f#m/c#œ ˙ ˙ c# 3 5 4 - 3 Learner Task: Play the progression and then Objective (T1-1): Transpose a diatonic chord transpose it into D and E minor.? 4 œ œ progression. 4 œ œ œ œ ˙ 3. Play the following chords labeled in Figured bass and Pop chord style. Use one note in the Figure ? # #40: Week 7 practice item for using chord iv in a minor key4 left hand and the rest of the chord in the right # # 4 œ hand. œ œ œ 5 6 6 - 5 A f#m f#m/c# c# 2. Play the following progression in the 4 œ 3 œ 5 4œ - 3 œ œ œ ˙ original key and in the keys of d and e minor. & 4 œ #œ œ œ œ #œ ˙ An additional practice item on chord labelling is included to ensure participants
continue work in this area in preparation of the second test item.? 4 œ œ œ [email protected] - please email4 œ me if œyou needœ help ˙
3. Play the following chords labeled in Figured bass and Pop chord style. Use one note in the ? # # 4 left hand and the rest of the chord in the right # # 4 œ hand. œ œ œ [email protected] - please email me if you5 6need 6 help- 5 A f#m f#m/c# c# 3 5 4 - 3
Learner Task: Play the following chords labelled Objective (T2a-2)(T2b-1): Construct and play with Figured Bass and letter-name chord seventh chords using Figured Bass symbols and symbols. letter-name chord symbols.
Figure 41: Week 7 practice item for chord labelling revision
[email protected] - please email me if you need help
175 Week 8
The practice items in Week 8 introduce participants to the supertonic chord. The
two progressions are in a major and minor key. The second chord progression is
intentionally similar to Week 7, with the only real difference being the inversion Online Keyboard Techniques Course of the second chord and using ii6/5 instead of IV for the fourth chord. The reason Week 8 - The Supertonic Chord (ii) for this is to encourage participants to identify subtle differences between chord Work Sheet Online Keyboard Techniques Course progressions.
Week 8 - The Supertonic Chord (ii) 1. Play the following chordal progression in the 4 keys of G, D, A and E major. œ œ œ œ œ œ ˙ Work Sheet& 4 œ œ œ œ œ œ ˙
? 4 œ œ œ 4 œ œ œ ˙ 1. Play the following chordal progression in the keys of G, D, A and E major. 4 œ œ œ œ ˙ & 4 œ œ œ œ œ œ ˙ 2. Play the following progression in the keys of Learner Task: œ Play the progression and ˙ then Objective (T1-1): Transpose a diatonic chord d, g, c and f minor. 4 œ transpose it into G,& 4 œ œ D, A, and E major.œ œœ œ # œ ˙ progression. œ œ œ œ œ œ ˙ œ ˙ ? 4 œ œ œ œ ˙ Figure 4 42: Week 8 practice item for using chord ii in a major keyœ ? 4 œ œ 4 œ #œ œ œ ˙ 2. Play the following progression in the keys of d, g, c and f minor. 4 œ œ œ œ 3. Dont forget to harmonise the remainder of the example& 4 givenœ toœ you inœ this œœ œ #œ ˙ weeks lesson notes and make sure you use a Supertonic chord.œ Onceœ youœ have a œ œ ˙ nice sounding harmonisation, tranpose it, with the melody, down into F major. ? 4 œ œ 4 œ #œ œ œ ˙
3. Dont forget to harmonise the remainder of the example given to you in this weeks lesson notes and make sure you use a SupertonicLearner chord. Task: Once you Play have the a progression and then Objective (T1-1): Transpose a diatonic chord nice sounding harmonisation, tranpose it, with the melody, down into F major. transpose it into D, G, C, and F minor progression.
Figure 43: Week 8 practice item for using chord ii in a minor key
The second practice item is the melody ‘Das Klinget’ (K. 620) from Mozart’s The
[email protected] Flute - please email me. This item requires the participant to if you need any help harmonise the remaining four
bars using appropriate chords, including chord ii and a cadential 6/4.
[email protected] - please email me if you need any help
176 Online Keyboard Techniques Course Week 8 - The Supertonic Chord (ii) Lesson Notes
ii7 iiø7
1. The supertonic chord (chord ii) is a minor chord when used in a major ˙ b ˙ key and a diminished chord when & ˙ ˙ b b ˙ ˙ used in a minor which means the 5th ˙ ˙ ˙ ˙ note of the chord is flattened because of the key signature. Chord ii can also have a seventh added similar to when the dominant chord uses a ? ˙ ˙ b ˙ ˙ seventh. b b C major: ii c minor: ii0
2. Chord ii (and ii7) are usually used in root position or first inversion. Chord ii is mainly used immediately after chord I and just before chord V or V7. Chord ii has a note in common with chord V but when using ii (or ii7) to V7, there are two notes in common. Try to keep these notes in the same voice if using these chords. œ ˙ œ ˙ œ œ ˙ œ œ ˙ & œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙
? œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ I ii V I ii6 V I ii7 V I ii6/5 V
(ii7 in first inversion) Das Klinget (Mozart - The Magic Flute) - This example will be used as part your work sheet - As you can see, this simple melody in the first four bars uses chords I and V7. Make a note of how the notes of the melody are contained the chord. Your task is to harmonise the remainder of the melody and use chord ii in your harmonisation. # 4 œ œ œ œ j & 4 œ œ œŒœ œ œ Œ œ œ œ œ Œ œ ˙Œ œ ˙ œ œ œ. J œ ˙ œ. œ ˙ Ó
w w ? # 4 w w w w 4 w w
Learner Task: Harmonise the remainder of the Objective (T3-2): List the possible diatonic excerpt and include chord ii. chords that include the pitches in a given melody.
Figure 44: Week 8 practice item for harmonising with chord ii
Week 9
This week’s practice items introduce participants to the sub-mediant chord. The Online Keyboard Techniques Course first practice item is a chord progression containing this chord that is to be Week 9 - Submediant chord (vi) transposed into various given keys. Work Sheet
1. Play the following progression in D, E and F# Major. 4 œ œ œ œ w & 4 œ œ œ œœ w
? 4 4 œ œ œ w œ Learner Task: Play the progression then Objective (T1-1): Transpose a diatonic chord transpose it to D, E, and F# major. progression. 2. Play the following chords labeled in Figured Bass. Notes without any numbers? 4 œ œ œ œ underneath are 5/3 chords. b 4 œ œ œ Figure 6 45 : Week 9 practice item for playing chord vi 7 6 œ 5 3
3. Harmonise the following melody (B I N G O). Participants are introduced to figured bass without 5/3 being displayed in the Make sure you use chord vi (f# min) in your answer.
# next practice item. This was designed to have participants presented with ## 2 œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ figured bass closer to how it commonly appears on a printed score. # # & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Email me [email protected] if you are having any problems with your work. 177 Online Keyboard Techniques Course
Week 9 - Submediant chord (vi) Work Sheet
1. Play the following progression in D, E and F# Major. 4 œ œ œ œ w & 4 œ œ œ œœ w
? 4 œ w œ œ œ
2. Play the following chords labeled in Figured Bass. Notes without any numbers? 4 œ œ œ œ underneath are 5/3 chords. b 4 œ œ œ 6 7 6 œ 5 3
3. Harmonise the following melody (B I N G O). Make sure you use chord vi (f# min) in your answer. Learner Task: Play the following chords labelled Objective (T2b-1): Construct and play seventh # # with Figured Bass chord symbols. chords from Figured Bass symbols. & # 42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Figure œ œ 46œ : Week 9 practice œ item for revision of figured bass Online Keyboard Techniques Course # # œ œ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ Weekœ 9 - Submediant chord (vi) The final practice item for this Work week Sheet is a combination of harmonisation and improvisation. Using the folk tune ‘B-I-N-G-O’, participants harmonise the 1. Play the following progression in D, E and F# Major. 4 œ œ œ œ w melody with appropriate chords & (including 4 œ œ chord œ œœ vi) and w are encouraged to
improvise and practice them in a way besides ‘block chords’. An example is given Email me [email protected] if you are having any problems with your ?work.4 4 œ œ w in the lesson video that is played in an ‘Alberti bass’ style. This practice item is œ œ
included to encourage participants to have fun with 2. Play the following chords labeled in harmonisation and is shown Figured Bass. Notes without any numbers? 4 œ œ œ œ œ œ underneath are 5/3 chords. b 4 œ œ in the following figure. 6 7 6 5 3
3. Harmonise the following melody (B I N G O). Make sure you use chord vi (f# min) in your answer.
# ## 2 œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ # # & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Learner Task: harmonise the melody and Objective (T3-1): Harmonise a given melody include chord vi in the answer. with diatonic chords using one chord per bar.
Figure 47: Week 9 practice item for harmonisation of chord vi
Week 10 Email me [email protected] if you are having any problems with your work. This week’s practice items introduce chord iii. The only practice items for this
week are chord progressions and their transposition. The first progression is
presented slightly differently, with a distinct melody and accompaniment. This
adds variety to the practice item format, as well as assisting with Question 3
178 (harmonisation) of the post-course test. Given that the previous week’s work
was relatively large; the amount of work was reduced in this week in order to Online Keyboard Techniques Course balaWeeknce it. 10 - The Mediant Chord (iii) Worksheet
Online Keyboard Techniques Course Week 10 - The Mediant Chord (iii) 1. Play this short excerpt in # # 4 œ œ A major and transpose it & # 4 œ œ œ œ œ œ œ œ œ œ w down to G major. Worksheet œ œ œ œ œ œ œ œ œ œ œ œ ? # # 4 œ œ œ œ œ œ œ œ œ œ œ œ 1. Play this short excerpt in # ## 44 œ œ œ œ œ œ A major and transpose it & # 4 œ œ œ œ œ œ œ œ œ œ w down to G major. Learner Task: Play this excerpt and then œ œ œ œ œ œ œ œ œ Objective (T1œ œ œ -1): Transpose a diatonic chord transpose it to G major.? # # 4 œ œ œ œ œ œ œ œ œ progression.œ œ œ # 4 œ œ œ œ 2. Play the following 4 œ œ œ œ chordal progression and & 4 œ œ œ œ œ œ œ œ transpose it to the keys of F, Figure 48œ: Week 10 practice item for transposition using chord iiiœ œ œ œ œ œ Bb and Eb major.
? 4 œ œ œ œ œ œ 2. Play the following 44œœ œ œ œœ chordal progression and & 4 œ œ œ œ œ œ œ œ transpose it to the keys of F, œ œ œ œ œ œ œ Bb and Eb major. œ ? 4 œ œ œ œ œ œ œ 4 Figure 49: Week 10 practice item furthering work on the mediant chord.
Learner Task: Play the chord progression and Objective (T1-1): Transpose a diatonic chord transpose it to F, Bb, and Eb major. progression.
Figure 50: Week 10 practice item for playing a chord progression with chord iii
Week 11
The practice items in this lesson revise all the work between Weeks 6 to 10. They [email protected] - please email me if you are having any difficulties. include a chord progression to be transposed, a chord labelling exercise, and a
harmonisation exercise. These items reflect the format of the pre- and post- [email protected] - please email me if you are having any difficulties. course test items. Additional practice items on any topic can be requested by
participants should they require them.
179 Online Keyboard Techniques Course Week 11 - Revision Work Sheet
1. Play the following chordal progression and b 4 œ œ œ then in G and A major. & 4 œ œœ œ œ œ œ œ œ œ œ œœ œ
? 4 œ b 4 œ œ œ œ œ œ œ I ii6 V vi iii IV V7 I 5
2. Improvise your own melody based on the following chords and 4 harmonise it with an & b 4 accompaniment however you wish - try to be dm F A7/E dm dm Bb gm dm creative with your accompaniment. ? b 4
3. Harmonise the ## 4 œ œ œ ˙ following melody & 4 œ œ œ œ œ œ œ œ œ œ Using a Tonic, œ œ ˙ Dominant seventh chord and at least one other chord covered in weeks ? # 4 6-10. # 4
Objectives (T1-1)(T2a-1)(T3-1): Transpose a diatonic chord progression, Construct and play chords from given letter-name symbols and Treble position notation, Harmonise a given melody with diatonic chords using one chord per bar.
Remember,Figure if51 you: Week 11 post have any difficulty-course test preparation practice items with any of these tasks, please do not hesitate to email me at - [email protected] - also next weeks lesson is the final assessment task which must be performed via skype. Please email me timesHaving created all of the practice items for the course, the next step was creating when you are to perform the test - This assessment must be completed before the 30th of June. the instructional videos. The following section outlines the process of creating all
of the instructional videos for the online course.
180 Instructional Video Creation
Instructional video delivers essential information to teach a skill or concept for the intended audience. Instructional videos are usually short in duration and focus on one or two concepts at a time. Instructional videos are now commonly uploaded to the Internet for users to access at any convenient time.
The process of creating instructional videos for the project is discussed in the following section. It includes the processes undertaken to record the content footage and the piano performance footage. The content footage includes all recorded material that has not been recorded at the piano. The last section of the instructional video creation process discusses the camera angle considerations for the performance footage and the visual/audio considerations for the
PowerPoint presentations used for the videos.
Recording the Content Footage
I wanted the instructional videos to replicate the teacher in the classroom format.
A typical one-hour Keyboard Harmony lesson involves a small amount of time at the start. The teacher explains what is required for the week’s lesson and the students use the remainder of the lesson time to practice relevant practice items.
Students occasionally seek help with a particular practice item before moving to the next item. However, the teacher spends the majority of the time waiting to offer help should it be needed.
181 The original idea for creating the instructional videos was to speak to the camera as if talking to the students in the classroom. I realised when creating a draft script for lesson videos that mimicking a teacher talking to the class, in talking to the camera directly, requires a significant amount of rehearsal and edit time.
Some practice footage of me talking to the camera at the piano was recorded.
Several takes were required for multiple reasons. These included small details such as my eyes rolling upwards when thinking of my lines, a slight slouch at the piano, and the occasional spoken ‘umm’ and ‘ahh’. This made the footage seem inappropriate for an instructional video. Much rehearsal time would be needed to perfect a semesters worth of lesson videos, including the lighting, microphone, and camera operation. Without a sound awareness of production values, the footage would not be effective.
To produce the videos using this method in a realistic time frame would require an assistant. This was something I had not considered because this was a small- scale project. Having an assistant would reduce the feasibility of the project and therefore another method of recording was required. Further investigation in creating instructional video led me to discover Screencasting.
Screencasting records the activity that takes place on the computer desktop including the audio. There are many, freely available, instructional videos using screencasting on YouTube that encompass a wide range of subjects. Most instructional videos that I have reviewed had no footage of people, only footage of what was occurring on the computer desktop with voice-overs.
182
I decided to use ScreenFlow in conjunction with PowerPoint for the creation of the content footage. It allowed me to devote more time to recording the performance footage.
I provided the voice over as the presentation was running. After it was recorded, the file needed editing in ScreenFlow, including splicing the file to allow the performance footage to be inserted. Some of the finer details of the editing process will be detailed in the section additional visual and audio considerations.
The next section outlines the processes involved in creating the footage recorded at the piano. The combination of setting a recording space, setting up the camera, and editing the footage proved to be more involved than anticipated.
Recording the Performance Footage
Before recording and experimenting with different angles of shots, finding an ideal video recording location was needed. The original plan was to use the recording studio at the University of Newcastle Recording Studio in the music department. Planned renovations, however, had begun after having already taken several earlier sample shots and test videos for the project. While it meant
I had to start again and discard the older shots because the room looked completely different, it did make the new facility ideal for recording video.
183 Due to time restraints caused by these renovations, however, various recording locations had to be utilised. This resulted in some of the performance footage audio being recorded through the internal microphone on camera, rather than using external microphones and mixer in the recording studio. This affected the camera angle of the performance shots because there were no camera stands available.
The recording location is an important consideration when creating instructional video. Choosing a recording location with sound proof recording facilities is optimal; however, this can incur hiring costs if recording lesson videos without institutional support. Most rooms having a piano are sufficient to record in, provided there is minimal, unobtrusive background noise.
Camera Angle Considerations
The type of video camera to use for recording instructional video is an important consideration, depending on the quality of the video desired. The first camera used in the recording process was a JVC GR DA30US hand held video camera that
I already owned.
Before recording commenced, experimentations were made with a ‘make-shift’ microphone stand where the arm of the stand could move over the head of the pianist from behind. By fastening the camera on the arm of the microphone stand with gaffer tape, the ideal camera angle could be made; however, because of the camera’s weight and the slight ‘bounce’ from the recording studio’s floor
184 (this is to assist with improving the sound quality when recording) the camera experienced instability as the support was not rigid enough. The following diagram is a side view design of this layout:
! Video!Camera!
Piano! Microphone! Stand!
Figure 52: Design layout for recording performance footage from behind the piano
In another experiment with the setup, a much smaller microphone stand was used and the camera was attached so it could be setup on top of the piano and facing the keys, recording the footage back-to-front. This proved futile because the weight of the camera was still an issue and it needed a counter-weight behind it. Even with this counter-weight used on the base of the microphone stand, it was too unstable for it to work because playing the piano caused the camera to shake. The following diagram is a side view of this layout:
185 Counter! Weight! !
Microphone! Video!Camera! Stand!
Piano!
Figure 53: Design layout for recording performance footage from the top of the piano
The solution to this problem was acquiring a Zoom Q3HD video recorder. This video camera records in High Definition and video files can be transferred from the camera directly onto a computer via the USB. It weighed considerably less than the JVC camera and stopped the microphone arm from falling. This was an additional expense I had not factored in the planning phase, but a necessary one to ensure video footage from the top view perspective.
The Zoom Q3HD camera was set up using the same microphone stand and extending the arm over my head. The limited time for using the recording studio meant that some of the footage had to be recorded in a different room. It also meant that using the original setup with the microphone stand was not possible.
186 As a result, some the recordings were made side-on by having the camera placed on a table next to the piano.
I had deemed it necessary to record all the footage of me playing the piano from above. This was based on the assumption students would be better able to understand the material if they could see what was happening at the keyboard.
After observing these side-on videos, the necessity of recording it from top down was not as important as I had first assumed. The angle of the performance footage is not as crucial as providing an audible set of instructions, rather than a visual set. This is because providing footage of what an example should sound like is arguably more useful than providing footage of what an example should look like. This is pertinent for Weeks 6-11, where the focus is on the sound and function of the new chord, not what it looks like on the keyboard.
Another observation was made when recording the piano keys from a stand resting on the piano. By rotating the footage 180 degrees, as suggested in Design
2, the footage appears misaligned and askew when viewed at the computer. This is most likely to do with the angle of the piano keys sloping the wrong way from the original recording angle. Recording footage this way, however, is a case of personal preference and would probably still be acceptable for use.
187 Additional Visual and Audio Considerations
Each week’s video planning includes storyboards with still shots of each video scene, as well as details such as background music, timings and visual enhancements used to direct attention to the musical examples displayed on screen. The complete list of storyboards is located in Appendix D and a transcription of the spoken content has been included in Appendix E. These transcriptions are slightly varied to the storyboard directions to make the videos more engaging. All lesson videos have been included on DVD, which accompanies this thesis. They can be found on the ‘Weekly Learning Videos’ DVD.
The first consideration with the layout and design of the videos was consistency.
Every video has the same opening title screen layout as well as the same background music. The only difference was the headings and labels that appear, stating the week it is and the lesson’s title. Every video has the same ending title screen layout, although the audio and displayed text varies.
Only two slide designs were used to keep the videos visually simple and to help create consistency. This does not include the footage of musical examples played at the piano. The first one was a plain grey-and-black scene with a scroll in the middle to separate the main heading with sub-headings. White text was used for the headings to contrast against the grey background, as seen in Figure 54.
188
Figure 54: Slide design for slides with headings introducing learning material
The other was a plain white background with a scroll in the top middle quarter of the screen to allow for more content to be displayed and discussed, as can be seen in Figure 55.
189
Figure 55: Slide design for displaying learning material
These screen designs were taken from a template in Microsoft PowerPoint
Presentation for Mac 2008. The decision to use these design templates was based on assumed visual appeal. Visual appeal is a subjective topic and for this project the visual appeal of the presentation was kept simple, utylising plain backgrounds. The effects of visual design and layout have not been explored in this project. It is understood, however, that visual setup is a subject that can affect how a learner responds to what is being presented and thus what is learned (Pralle, 2007, p. 25).
After finalizing which slides to use, a PowerPoint presentation for each weekly lesson was created. Each presentation follows the lesson notes and worksheet for that week and uses the same musical example graphics. Some transitions were used to allow graphics to fade in or enter from the side. Transitions were used when various points needed to be made on the same slide but not at the
190 same time. By pressing the space bar at the desired time, the transition or slide change takes effect.
Talking over a PowerPoint presentation provided an effective way to draw attention to text, graphics and music notation examples on the slide. This solved the problem of memorising a script because I could use cue cards placed around the computer desk. This helped to deliver the essential points in a manner that sounded professional and informal. ScreenFlow records the use of the computer mouse. It allows the mouse cursor to move over a graphic on the PowerPoint slide and then manipulate the area on the screen when editing. This includes zooming in and out, as well as fading everything around the mouse cursor area and draw focus to that particular region on the slide. The viewer’s attention is directed to the point being made with these visual enhancements.
The next task was to insert the performance footage files in between the recorded PowerPoint presentation clips by selecting the insert clip option. This process splits the PowerPoint video clip track31 at the relevant places and then moves the new section, allowing room for the performance video clip track to be added. The performance footage can then be trimmed in ScreenFlow so it only plays the exact section of the file needed. This saves time because it means the performance footage does not need to be trimmed and edited using different software prior to using it into ScreenFlow.
31 Track refers to the visual representation of the recorded material as a strip placed against a time line.
191 Adding transitions between slides in the recorded PowerPoint presentation file was done in ScreenFlow, rather than in PowerPoint. This is done in the same manner as splitting the clip track, which involves highlighting the relevant points on the clip track and selecting ‘Add starting transition’ and ‘Add ending transition’. The following Figure 56 is a screen shot of the ScreenFlow editing area.
Figure 56: Editing menu display in the software program 'ScreenFlow'.
Editing the recording in ScreenFlow was made easier by the software allowing the separation of the video and audio so they can be edited individually. This allows the voice over to be edited to have more or less volume or different effects, such as more reverb. It also makes adding and editing background music much simpler for the same reasons.
192 All background music used in this project has been performed and recorded by myself. This eliminated any copyright issues arising and gave me more freedom to use appropriate music. The composer and the name of the work are included in the storyboards. The background music was included in the videos by playing the music through the computer on iTunes and recording it on ScreenFlow using the ‘capture desktop audio’ feature.
The music varies in each video because of the varying lengths, creating a different atmosphere. Originally, the background music was the same in every video to keep the videos consistent but it made the videos seem cumbersome.
Varying it for each video eliminated the monotonous feeling, although the introductory music in each video is the same. This music used is the introduction to the second waltz from Granados’ Valses Poeticos (Granados, 1894). The use of background music in these videos is for aesthetic purposes only. There are no considerations as to the effects of background music on the learning process.
Conclusion
The processes used for each weekly lesson form an important part of this thesis.
It is hoped these processes will be able to be followed in such a manner, giving a clear sense as to how the learning material was created. Each weekly video presents an outline of the objectives, each scene used, effects used to draw attention to particular points, and a complete transcript of what is said in the recording. Each week’s lesson video reflects what is presented in the supplementary lesson notes, based on the lesson plan.
193
Chapter 7 - Implementation Phase
Introduction
The Implementation Phase utilises the instructional material from the
Development Phase and delivers it to the end user. For this project, the implementation phase involves the preparation of the online learning environment and the course for learners. Data is collected throughout and is used to measure the feasibility of running the course in the evaluation phase.
This chapter outlines the processes of implementing the course from its beginning to end. It includes details on setting up Blackboard, recruiting participants, organizing pre-course and post-course tests, and the progress of participants, as well as problems arising during the running of the course. It includes the correspondence between the Blackboard team, the course participants, and myself.
Some of the correspondence occurring during this phase has been included in this chapter because it is a significant aspect regarding feasibility. As both course creator and instructor, managing my personal time for correspondence with participants was conducive for the success of this course.
194
Setting up Blackboard
The first step in the Implementation Phase involved setting up Blackboard using their online course template. This was aided by the setup guide on the
Blackboard website, which was easy to follow and made the process straightforward. Setting up the course template involved selecting and modifying the visual layout, including button32 designs and background pictures.
The next step was uploading all the videos and supplementary documents into the course template I had created. The video file sizes were large because they were High Definition (HD) and it caused problems with their upload. The original plan was to have the videos available for download as High Definition (HD) and normal video quality. The HD videos were included for participants who had sufficient Internet speed and download limits; however, both video qualities were visually sufficient.
The limitations of my home Internet connection meant the HD videos would take approximately 12-16 hours each to upload onto the Blackboard course site. This was not feasible and so I compressed HD files into MP433 format using
ScreenFlow. This changed the average file size from approximately 900mb to
40mb. The difference in visual quality was negligible. It is reasonable to assume
32 A button is an area on the screen that is clicked and directs you to another page. 33 MP4 (MPEG-4) is a file format that compresses audio and visual digital data.
195 this will be less of an issue in the future as Internet speeds improve. The total time taken to upload all the content for the course was approximately 9 hours.
The online course was now ready to be rolled out and enrol volunteering participants. This could not happen until ethics had been approved. A change in the University of Newcastle policy over the 2011/2012 break, however, meant I was no longer capable of activating the course online by myself after having received ethics clearance. The Blackboard administration advised me that only they could activate the course; however, I could still manage and control the course once it had been activated.
This allowed full control of the online course and it was able to enrol participants and begin recording their pre-course test. Recording the participants will be discussed in the section Course Commencement. The means of recruiting participants for this project is discussed in the following section.
196 Recruiting Participants
The participants who agreed to take part in this project were a mix of students I had taught in the past, undergraduate university students at the University of
Newcastle, and both piano major and non-piano major colleagues who were willing to help out and potentially improve their keyboard skills. Participants needed to be at least 18 years of age and had been playing piano for at least 2 years. Please refer to Appendix B for the complete information statement and selection criteria for the project.
I contacted the Co-ordinator of the keyboard department and requested a visit to the class to assess interest and recruit people. Part of the email I sent is listed below:
Is it ok if I either come to the first class at the end to talk to the students or if I hand you the information statement and consent forms, would you mind helping me out with it?
If this is ok, could you please let me know when the class is scheduled for this semester and we can go from there. If not please let me know as soon as possible and i will try and find another means of recruiting the students.
Thanks for your time,
The response I received was:
Yes, this is fine. We are splitting the class this semester. The 1st years will be in the hall and I think the 2nd and 3rd years will be in [room] 4:16. I would say 2nd and 3rd years are better because 1st years have enough to worry about with adjusting and settling in, Best wishes,
197 After this agreement was made, I attended the classes and it resulted in only one person volunteering. I was aware it always was going to be difficult convincing university students to participate in a project where they receive no credit towards their degree or monetary compensation. With their current course workload this was understandable. I sought recruitment assistance from other staff members at the University to identify volunteers in other music classes.
After the information statement was distributed, five additional students agreed to participate.
Two participants volunteered who were living overseas at the time. This presented a unique opportunity to observe possible issues arising from time zone differences and the Internet. This is especially the case when it comes to the synchronous aspect of the project using Skype for the pre-course and post- course tests. These observations, however, are not being considered as part of the feasibility of this study due to the small sample of overseas participants.
The rest of the participants were previous students of mine who lived either locally or outside of Newcastle. At the commencement of the course in March
2012, the total number of participants enrolled in the course was 23. The low number of participants can be partly attributed to participants not receiving any formal credit for having participated in the course. It is partly to do with the age restrictions when seeking ethics approval. In retrospect, applying to have participants from senior year in high school might have attracted more participants.
198 Having recruited the participants, the next step in this phase was to commence the course.
Course commencement
This section documents the management of the course and details some of the interactions between the participants and myself through email and Skype. It highlights the technical problems and unforeseen incidents occurring during this time.
Pre-course test recordings
Participants were required to perform the pre-course test via Skype before commencing the course. The pre-course test allowed participants to learn what to expect by the end of the course. The change in results between the pre-course and post-course tests, if any, provided a generalised means to evaluate the success of the course and ultimately its feasibility.
The participants undertook the pre-course test in real-time and were recorded using ScreenFlow. Before each recording, participants were asked whether or not they gave their permission to be recorded. The pre-course test was emailed to the participants, as well as instructions to email me a time suitable for them to perform the test. A copy of the pre-course and post-course tests can be found at appendix F.
199 Finding times suitable for both the participants and myself was a predicted hindrance. With some participants, it required several emails to find times mutually suitable. The following is an extract from the first email sent to all of the participants:
Once you have Skype (or if you already have it) you will need to 'add' me. You can find me by my Skype username 'phdoktp' (that stands for PhD online keyboard techniques project) or simply search my email address '[email protected]'. If you are experiencing any difficulty, please let me know. Once you have Skype setup, and have organised a time with me,
you will need to ensure that you are near a piano or keyboard.
There were a number of technical problems with some of the pre-course test recordings. Occasionally there would be Internet issues causing problems with latency and sound quality. In some of the recordings it was noticeable that the sound quality is often very poor and it was difficult to determine with absolute certainty what the participant was playing.
An example of this involved Participant 11. The pre-course test for this participant required some ‘on the spot’ thinking in order to record it. Skype was unable to be used on his computer because it was a work computer restricting its installation. Instead, a work-only video chat program was sent to me to use as an alternative. I installed it, but there were still issues with the sound upon connecting. To address this, a mobile phone call was made and I placed the participant on speaker and held the phone to my computer microphone.
Although the sound quality was not good, it was still possible to determine and
200 assess what was being played. This video, as well as all participant pre-course tests can be viewed in the Participant Video DVD included with this thesis.
Once the pre-course tests had been recorded, participants could begin the course work. The period of time taken to record all of the participants was 3 weeks. This was not ideal because I wanted the course to reflect a university semester and have every participant starting at the same time. Having the participants start together was not possible because of the varying work schedules of the participants.
It was assumed there would be problems during the course’s implementation; however, most of these assumptions were related to problems with the Internet connections and computers of the participants. There were other problems that caused significant delays for several participants. The following section details some of the unforeseen issues that caused these delays for participants after their pre-course test was recorded.
Unexpected Issues
Logging on
The first major problem occurring after the pre-course tests were completed was
Blackboard access for the participants who were not enrolled as University of
Newcastle students. In order for non-tertiary participants to use Blackboard for one-time access to the online Keyboard Harmony course, a user-request form
201 was required. After submitting the form, participants were contacted via email.
University students who volunteered could simply log-on to Blackboard using their university login. Non-tertiary participants were required to call the
Blackboard office and request a password and agree to their terms and conditions. Part of the email all non-tertiary participants received in order to get their accounts active was the following:
…To ensure that your computer accounts, Internet and email are activated properly, you will need to complete the registration process shown below.
You have been assigned a unique University ID (Uni-ID or username) which you must use to identify yourself when accessing University services, and an initial password which you must change to something known only to yourself.
Calling Blackboard was difficult to arrange for the overseas participants because of the time difference. I contacted Blackboard regarding this and they agreed to allow any participant outside of Newcastle to have access granted when they contacted Blackboard via email without the need to call. Non-tertiary Newcastle participants would still have to call. This still proved difficult to arrange with participants who worked fulltime.
I sent out an email to the non-tertiary participants explaining the delay in starting the course.
If you are not a Newcastle University student and you live in Newcastle, you will have to contact, by phone, the number sent to you in the email sent to you regarding your account, in order to get it activated. If you have any questions regarding this, please let me (or IT support at the University) know.
202 Even after participants followed the instructions given to gain access, some of had delayed access for unknown reasons. For participant 13, the details given to them were incorrect or no longer valid.
Participant 13: I am having difficulty getting past the log-in page. It won't accept my password nor the temporary password the IT Desk gave me. I have sent another request to IT for assistance.
This issue was resolved after the participant sent an email to the Blackboard team and their password was reset.
Lesson Video Access
Viewing the videos on Blackboard occasionally did not work for some of the participants. An error message appeared informing the participant they did not have access to the video. The following is an example of an email sent by one of the participants:
Participant 17: To all videos I am getting the message: "The specified resource was not found or you do not have permission to access it." I can access the Work Sheets, Lesson Notes and Transcripts but not the videos. What do I do to fix?
The Blackboard team was contacted via telephone and they were unsure as to why this was occurring. At the request of the Blackboard team, I removed the participants from the course who had these issues and re-enrolled them. This action worked for some of the participants but still did not solve the problem for three others, even after numerous exchanges between the Blackboard team and
203 myself. Rather than delaying the commencement of the course (and wasting their time) for these participants, I arranged alternative solutions.
For one of the participants, the videos were copied onto DVD and posted to them
(along with the PDF’s, although the participant had access to these files on
Blackboard). I arranged for the other two participants to use Dropbox, where they could access the videos online.
Dropbox is a free, online file sharing service that enables the user to upload any digital content, such as photos, music and videos. This data is stored online and is accessible from any computer that has an Internet connection. It has a feature enabling the account holder to invite other users to share their content. The reason for using Dropbox as opposed to other free online storage programs was because I was familiar with it. Other online storage facilities include SkyDrive,
Box.net and for Mac users, iCloud.
The problems encountered with access for participants were a significant impediment and required much of my personal time to resolve. It demonstrated a clear obstacle to all the participants being able to undertake the course. It presented some of the current limitations in online learning using Blackboard through a tertiary institution. Programs such as Dropbox are demonstrative of the usefulness online storage and sharing with regards to online learning. It is an alternative means for creating an online course that I had previously not considered.
204 All the participants were now able to commence the coursework. The remainder of my time during the semester was dedicated to responding to participants’ emails and offering feedback and assistance where possible. The following section details this aspect of the implementation phase.
Participant Feedback of Weekly Lessons
It was expected there would be numerous emails sent to me requesting explanations of the learning material, as well as requests for marking and Skype times arranged for practical help. Fortunately, this was not to be the case.
Participant help was rarely requested and, in the few instances where it occurred, very little explanation was needed on my part.
The lack of inquiry from participants most likely stemmed from the lack of requirement to do so. Participants were not obliged to contact me, even if they did experience difficulties. It could be because very few participants actually needed any additional help after watching the lesson videos and reading the lesson notes. It is most likely due to participants not deeming it necessary because they were not receiving any form of credit for participating in the course.
The reason it was not a requirement to send weekly feedback regarding the course was out of concern for taking up too much of the participants’ time. The course was already a large task to undertake. To request this feedback seemed too much to expect from a participant.
205 There was participant feedback that highlighted some important points. One point made by Participant 14 was not having enough coursework feedback made readily available for participants after they had completed the work each week. I had not considered this to be a necessary step because I had assumed that if there were any problems then participants could simply contact me via email or
Skype and have the problems addressed there. There was a constant reminder to participants on the weekly worksheets and the end of each lesson video to email me if they had questions relating to their work, and I considered this adequate to offer feedback to participants. Participant 14’s feedback is as follows:
Participant 14: Still no luck with the video but I could work out what to do from the transcript and lesson notes for Week 3. Attached are 2 pages which have my answers to Week 3 worksheet - could you please check? For Q2 I read "same format as Q1" as being the same inversions - am I right? Suggestion for future on-line course is that the answers to the worksheets for Weeks 1-4 be available prior to Week 5 Assessment so that any student who is on the wrong track has an opportunity to deal with the matter/s prior to the 33% Assessment
The following Figures 57 and 58 are of the worksheets mentioned in the above participant’s email:
206
Figure 57: A participant’s feedback regarding the work in week 3.
207
Figure 58: A participants answers to Question 2, 3 and 4 from week 3 in notated form.
208 The participant’s written example shows the majority of the answers were correct, with the exception of the fourth chord in question 2 (they have written an F major chord instead of a g minor chord). This response suggests the lesson video or lesson notes effectively explained what is required to this practice item.
Another reason why the answers and feedback to the worksheets were not included online is because of the varying times in which other participants would complete the weekly work. If the answers were made readily available at the end of each week, participants who had not completed the work would have access to answers and may decide to not attempt to solve any difficulties themselves, instead opting to practice what was on the answer video.
Having immediate and detailed feedback is an important aspect in online learning and when compared to in-class learning, it is one of the more difficult aspects to replicate. In hindsight, a system where participants get access to worksheet answers would probably improve the quality of the course. Another possible solution involves participants uploading the coursework every week as a video file, and then having access to the answers. Creating this system on
Blackboard, however, was not possible with the access restrictions imposed by the University. It is not unreasonable to speculate that limitations such as this are being addressed and solved in the area of online learning since the conclusion of this course.
Two participants requested help for the final assessment. I replied to both participants with one specifying further help via Skype, because they felt an
209 email explanation would not adequately suffice. The following passages are from emails received from the participants, including my responses:
Participant 3: Hello Jordan,
Look, I am trying to get my head around Treble position, but I still don’t get it. It is possible to get a Skype time with you on Tuesday night so you can show me at the piano?
Participant 12: Hi Jordan,
I just had a few questions about the Final Assessment for the course. With question 2, I am unsure about the term 'treble position,' does that refer to playing the chord based on the notes position in the treble clef?
And with question 3, do the chords have to correspond with G major? (i.e. I, IV, V, I in relation to the key, or the bar?)
My reply to these emails were:
Participant 3) Tuesday is fine. I will log on at 8pm and we can go from there. If this is a bad time, please let me know, if not, I will see you soon.
Participant 12) Treble position works top-down. The number at the top refers to the chord note (either the 1st, 3rd or 5th note). A '3' at the top means the 3rd of the chord is on the top. It would then mean the chord to be played is a second inversion chord. If the '3' has an 'e' underneath it would be either a C major chord of a C sharp minor chord (you would determine it by the key signature or whether or not it states to write major or minor chords only).
210
And yes, the chords are all in relation to G major. Feel free to get creative but make sure it makes harmonic sense.
A Skype time was arranged and the session I spent with the first participant mentioned above helped with their progress. By the end of the Skype lesson, the participant was demonstrating they had grasped how treble position functioned.
Unfortunately, due to the laptop I was using at the time, the audio was not recorded and the video quality was poor and has not been included with this thesis. It does suitably highlight, however, issues involving computer technology and the importance of their consideration when delivering an online course.
I received no further emails from the second participant, so it was assumed the advice given was sufficient to assist them in their final assessment. There could have been many other factors, however, that could account for this.
Week 5 Assessment Task
As a result of the delays with participants commencing the course and issues with participants having access to the lesson videos, I decided to remove this part of the course. It would have taken much more of my time to organize Skype times for participants; especially given the differing stages participants had reached in the course.
The Week 5 assessment was intended as a reflection of a typical university semester and as a means of consolidating the work completed in the first four weeks. I had never intended it as being a means of assessing feasibility nor
211 having any bearing in the evaluation of participants’ progress. This was an important realisation when organizing and operating a course as an individual.
The last step in the implementation phase was organising and recording the post-course tests. The following section details this process.
Post-Course Test Recordings
The post-course test was set at 13 weeks after participants commenced the course. The 13-week time frame was to reflect a typical university semester, including examination period and mid-semester break. The post-course test was not set to a strict date because of the variation in start times for each participant.
I sent an email requesting participants book a date for recording their final assessment. The following email was sent:
It is now time for the post-course tests to begin. Even if you haven't done much work (or any!), if you could please do the post-course test with me via skype…
You need to organise a time with me over the next 3 weeks. Please send me an email to confirm the time (am/pm) that suits you best.
Most of the participants responded within two weeks of sending the email and recording dates were established. Similarly to the pre-course test, a wide array of times was requested. The following passages are examples of emails received from various participants in response to requesting a time for the final assessment.
212 Participant 12: Hi Jordan,
………I haven't done a great deal on the keyboard course I'll admit (completely forgot about it during assessments). Probably the best days for the post course test for me are weekends, and Tuesday and Wednesday afternoons if any of that suits you?
Participant 19: Thanks Jordan. I understand. I am currently working on the application of dom7, dim7, min7 and M7 cords in my books of piano pieces with [my piano teacher] eg The Swan (Saint-Saens). I mis-read the question. How about Tuesday [21 August] after 9.30am for a Skype assessment?
Participant 3: Hi Jordan
I have forgotten my password and been locked out of Blackboard. I can't figure out how to contact IT from their page. Are you able to have them reset it or tell me how I can contact them? ……….All I could find was a number to call and that's not really an option for me.
Participant 3 resides in Europe and this was the reason for not being able to call the Blackboard team at the University. Rather than going through the process of resetting their password, I responded to the email with the assessment sheet.
There were several participants, however, who were difficult to get a response from, with some not responding at all. After no responses from several participant requests, I assumed they had withdrawn from the study and no further attempt to get them to record the final assessment was made.
213 I included participants who agreed to record their assessments even after a significant amount of time had elapsed since the initial request. Some of the reasons included health issues, work and study commitments, as well as overseas travel. One of the overseas participants responded with the following email (three months after the initial email):
Hi Jordan, ……Sorry for not being in touch about the final assessment task……. I can probably do it on Monday 8th [October] if you have any time during the
day.
The final recording of the post-course assessment was made in January 2013.
This is because I had received an email from them informing me they would not be able to be recorded because they were travelling overseas and did not have access to a piano or a webcam. They still agreed to be recorded, but it had to be after they had returned. The email they sent me stated:
Hi Jordan,
I won’t be able to sit the test until I get back […] I will be here with my girlfriend for another 3 months, so if it is still cool to do it when I get back, then I’m still keen.
There was a wide range of personal factors reported in the feedback. These personal factors included family illness, work commitments, and anxiety surrounding preparation for the final assessment. All the recordings made of the final assessment have been included on pre-course and post-course DVD
214 accompanying this thesis. The results of these recordings are discussed in the next chapter.
Conclusion
As mentioned at the start of this chapter, the overall activity of the participants with myself during the course was minimal. I had anticipated more requests for assistance with test items because at the conclusion of every weekly lesson video there was a reminder to seek help if there were any difficulties. My concern was participants avoided seeking help out of fear of seemingly inadequate in their abilities.
Upon reflection, making it a requirement to send a short email upon completion of each week’s work sheet would potentially encourage participants to express any concerns they might have. It could help to show the rate of progress of participants and this would highlight a number of issues. These include:
• Determining lessons that were easier or more difficult for participants.
• Whether work was being attempted consistently throughout the course,
in clusters, or at all.
• Acquiring information regarding how participants feel about the lessons
at the time they are engaged with the work, instead of retrospectively at
the end of the course.
215 Another requirement I would add is stricter completion times. I wanted to give participants flexibility with their time management, but not so much as to complete the course as late as some did.
216 Chapter 8 - Evaluation
Introduction
The final phase of the ADDIE model is the evaluation phase. In this project, the purpose of the evaluation phase is to assess the effectiveness of the online course.
This is achieved by identifying and removing problems prior to and during the implementation phase as well as assessing the effectiveness of the instruction at the conclusion of the implementation phase. There are two main methods of evaluation: formative and summative.
Formative evaluation is used in every stage of the ADDIE process. It refers to the collection and analysis of data used for revision to ensure more effective instructional delivery in each stage. It is a means to monitor learner progress to improve both how the instruction is delivered and interpreted by the learner.
Summative evaluation is used to evaluate student learning at the end of the course. This is achieved by comparing assessment results with set criteria. Other methods of evaluating student learning include questionnaires and surveys. The summative evaluation of this project is a comparative analysis of the pre- and post-course test results, as well as student feedback (Stufflebeam & Shinkfield,
2007).
Marks in the pre- and post-course tests are only awarded to provide indicators as to what areas did or did not improve. Marks are awarded based on the marking rubric designed for this course. The participants, however, will not receive any notification of their score in either the pre- or post-course test.
217
The following section discusses the formative evaluation of this phase in the project.
Formative Evaluation Course Evaluation Considerations
Formative evaluation of this course includes justifying the method of summative evaluation. The summative evaluation method used is a comparative analysis of the pre- and post-course tests. Participants have at least a week to prepare for both tests and the difference in their results assists in determining the feasibility of the course.
The results of the two tests, however, only measure the course as a whole. The results do not provide indicators of weekly progress including what practice items were most effective in assisting participants to perform the post-course test. Other methods of evaluating participant progress were considered to monitor progress during the implementation phase. These were weekly Skype meetings with participants where they performed the lesson worksheet, participants completing weekly online quizzes, and participants recording the weekly tasks and uploading it to Blackboard. These would require a lot more of the participants’ time. None of them were included, however, given the amount of time participants were already dedicating to the course.
218 The logistics of organising weekly Skype sessions for all participants throughout the course was not feasible. Organising times with participants who work full time or live overseas, as well as managing my own work schedule was not possible without assistance. Similarly, requiring participants to upload recordings every week for an entire semester is an expectation that necessitates much of the participants’ time.
Using weekly questions to determine whether participants have understood the instruction was not used because of the practical nature of the course. A participant may understand the task but that does not indicate if they can perform the task at the piano. The aim of this project is determining practical issues in the online environment.
The minimum level of piano playing experience required to participate in the course was two years. A further consideration was having a maximum level of experience to participate in the course as well. This was to facilitate an online learning experience where other participants are of a similar musical ability. No restriction on the maximum experience was put in place in order to allow for a greater number of potential participants for the project. The feedback provided by participants of all experience levels is useful in determining the feasibility of
Keyboard Harmony in the online environment.
The main reason, however, for not including other methods of formative evaluation was because the online course is a prototype. The purpose of this research project is to establish the processes involved in creating an online
219 Keyboard Harmony course in order to provide a platform for further research in the area of online Keyboard Harmony. Participant results and feedback are used to determine what instruction and practice items need modification.
Criteria Changes
One of the main changes to how the course was evaluated was identified while interacting with participants. During the recordings, it became apparent that several participants were nervous and unsettled. The quality of the performance from these participants was affected by their anxiety. This is something I had not considered during any earlier phase in this project.
The marking criterion was changed so that strict tempos were not required when performing the test items. Prior to this change, marks were awarded depending on the specific tempo. I revised the marking rubric to factor in hesitations in performance because of nerves. Instead of marks being awarded depending on the speed of the tempo, they were awarded on the consistency of the tempo and rhythm. This change allowed for participants to take the tests at a speed they felt comfortable with under test conditions without being penalised.
The following section details this project’s summative evaluation beginning with the results of the post-course tests. This includes graphs highlighting the differences between the pre- and post-course tests for each individual test item, as well as an overall comparison.
220 Summative Evaluation Course Results
Out of the 23 participants that commenced the course, 12 completed it. There was no strict date when participants were to perform the pre-course or post- course test. It was encouraged to complete the course, however, within 4-5 months from commencing to be analogous with a formal university program.
The majority of participants completing the course did so within this timeframe.
Several participants completed the course much later than this, as stated earlier.
This raised several issues regarding their results. After such a long hiatus from the course, factors such as memory decay can influence the results. I decided that it was more important to have them complete the course and provide feedback about the course than to disallow them to finish. Issues such as these are important to consider in the online environment.
The post-course test results varied, with most participants demonstrating an improvement when compared to their pre-course test result. An individual report of the results was made for each participant. These reports outline the participants’ performance against the assessment rubric. They are located in appendix H.
Reports and recordings are included for the participants who performed the pre- course test but did not finish the course because their recordings provide an
221 insight into the logistics in recording and performing in the online environment:
a key factor in determining feasibility.
The following tables are comparisons made between the pre-course and post-
course tests of all the participants completing the course. There are four tables,
one for each question in the test, as well as an overall comparison of the total
marks. A statistical analysis of the data is not provided because of the low
number of participants completing the course, as well as their differing skill
levels. The comparative data provided is used to highlight which test item had
the largest and least improvement from participants overall.
The score (Y-axis) for each participant (X-axis) was a combined mark of the
three areas identified in the marking rubric. These areas are rhythm/tempo, note
accuracy, and voicing/voice leading and each are worth four marks. Each Online Keyboard Techniques Course question is marked out of twelve, and the entire test is marked out of thirty-six. A
score of 50% or higher is considered a pass, indicating eighteen is a pass. Week 12 - Final Assessment Question 1 pre-course and post-course test results
1. Play the following chordal progression in the original key and in G major. 4 œ œ œ œ œ œ œ œ & 4 œ œ œœ œ œ œ œ œ
? 4 œ œ œ œ œ œ 4 œ œ
^ ^ ^ ^ 2. Play the following chords labeled in treble 1 5 1 5 position, figured bass and pop chord style (chords by their letter name). 4 222 & 4 œ œ œ œ
? 4 œ œ œ 4 C C/E G C 6 6 - 5 œ5 5 4 - 3 3 3. Harmonise the following melody with one chord per bar. In your answer ensure to use at least 3 of the following chords: I, ii (or ii7), iii, IV, V (or V7) and vi and any of their inversions. # ˙ œ œ ˙ & 4 ˙ ˙ ˙ œ œ ˙
? # 4
[email protected] - Please email me if you are having any difficulty - thank you again for participating in this research project. Table 2: Question 1 pre- and post-course test results
Marks were only awarded for this question if both the original and transposed chord progression were performed. Awarding marks in this way does have its limitations and does not indicate whether or not a participant has learned anything. The decision to require the question played in full was to avoid the need for partial marks based on how well they played up until they stopped.
Most participants demonstrated the ability to play the written out chord progressions but lacked the ability to transpose the chord progression. Six participants did not attempt the transposition and two participants attempted the transposition, but did so poorly. They had not scored well in the pre-course test. This explains why there are a low number of blue columns.
Almost every participant attempted and completed both the original and the transposed progression in the post-course test. The main observable difference
223 from the participants was improved rhythm/tempo skills. Additionally, most participants appeared to play more confidently relative to their pre-course test.
As mentioned earlier, the abilities and experience of the participants were highly varied. Participants 4, 13, and 10, for example, had been playing piano longer than most of the other participants34. Irrespective of the difference in participant experience, the scores for every participant increased with the exception of participant 9. Participant 9 was unable to meet the requirements and complete the task on both occasions due to work commitments and inability to dedicate enough time for practice.
The main observable reason for the low pre-course test scores for this question was participants’ inability to transpose the chord progression. The pre-course test recordings show that most participants did not write the chord progression in the new key. In the post-course test, however, most participants used a written out transposed chord progression. There was no instruction given that participants should write out their answer; however, there was no instruction given to disallow it either. Considerations whether or not to make an assessment requirement to not write out the answer were made. I decided not to make it a requirement because this is a first-year Keyboard Harmony course, and many participants may not have had any prior transposition training.
This is important to consider when comparing the results as participants had prepared transposition in the post-course test. If participants had prepared the
34 This is evident in all the test items.
224 Online Keyboard Techniques Course
Week 12 - Final Assessment
transposed chord progression in the pre-course test, the comparative results 1. Play the following chordal progression in the original key and in G major. might have been very different. The reason for many participants not preparing 4 œ œ œ œ œ œ œ œ & 4 œ œ œœ œ œ œ œ œ for the test, however, was possibly due to their lack of experience and ability in transposition. œ œ œ ? 4 œ œ œ œ œ Question 2 pre-course and post course test results
^ ^ ^ ^ 2. Play the following chords labeled in treble 1 5 1 5 position, figured bass and pop chord style (chords by their letter name). & 4 œ œ œ œ
? 4 œ œ œ 4 C C/E G C 6 6 - 5 œ5 5 4 - 3 3
3. Harmonise the following melody with one chord per bar. In your answer ensure to use at least 3 of the following chords: I, ii (or ii7), iii, IV, V Table 3: Question 2 pre- and post-course test results (or V7) and vi and any of their inversions. # ˙ œ œ ˙ & 4 ˙ ˙ ˙ œ œ ˙
? # 4
[email protected] - Please email me if you are having any difficulty - thank you again for participating in this research project.
The first part of this question requires participants to play the treble position
chords and letter-name chords together in the first bar. The second part requires
225 the participant to perform chords that are labelled as figured bass. The treble position and letter-name chord labels were to be performed simultaneously, with the right hand playing the treble position and the left hand playing the bass line. Most participants, however, performed the treble position with one hand, stopped, and then played the letter-name chords, hands together, as if it was a separate exercise.
Similarly to the first test question, the majority of participants failed to complete the question during the pre-course test. In order for a mark to be awarded, both parts of the question are required to be completed. It was assumed that the marks would be low because of the treble position content, which few people, if any, would have any experience in playing.
The improvement in the post-course test results was largely to do with the figured bass and letter-name chords. As with the pre-course test, many participants still did not understand how to perform the first bar of the question properly. I had assumed participants would rectify this by practicing the course material. Participant 4, who successfully played the question in both tests, had guessed the answer in the pre-course test, informing me afterwards that they had based their answer on the letter-name chords below.
The results of this question reveal some fundamental problems with its design.
The directions and requirements of the question are not clearly stated in a manner the participants interpreted correctly. This impacted how participants performed the question in both tests. I had assumed that there would be some
226 Online Keyboard Techniques Course
Week 12 - Final Assessment
1. Play the following chordal progression in the original key and in G major. 4 œ œ œ œ œ œ œ œ & 4 œ œ œœ œ œ œ œ œ
œ œ œ ? 4 œ œ œ œ œ participants in the pre-course test who would be confused as to how to perform
the chord symbols, in particular treble position^ ^ ^ . I did not, however, assume that ^ 2. Play the following chords labeled in treble 1 5 1 5 position, figured bass and pop chord style the same confusion would be apparent in the post-course test. In hindsight, the (chords by their letter name). & 4 œ œ œ œ need for the inclusion of treble position chord labelling was not necessary because most participants demonstrated their ability to œ form œ close position ? 4 œ œ chords correctly in the first question of the pre C C/E G - and postC 6 - course tests. 6 - 5 5 5 4 - 3 3 3. Harmonise the following melody with one chord per bar. In your answer ensure to use at least 3 of the following chords:Question 3 pre I, ii (or ii7), iii, IV, V-course and post -course test results (or V7) and vi and any of their inversions. # ˙ œ œ ˙ & 4 ˙ ˙ ˙ œ œ ˙
? # 4 4
Table 4: Question 3 pre- and post-course test results
[email protected] - Please email me if you are having any difficulty - thank you again for participating in this research project.
227
The final question of the pre- and post-course test was harmonising a short melody. A four bar melody was given and participants were required to harmonise it using one diatonic chords in each bar. This question had the highest scores and highest improvement in both the pre- and post-course test.
Most students improved in this question from their pre-course test score. This is most likely because they understood what was required to complete the question, and more importantly, now knew what chords to use. Six of the participants that finished the course did not complete or attempt this question in the pre-course test. Five of the six participants completed the question in the post-course test. Participants 4 and 13 were familiar iw
There were two notable observations between the pre- and post-course recordings of this question. First was the correct usage of the tonic and dominant chords in the melody harmonisation question in the post-course test. This is possibly the result of the extensive work on both harmonisation and transposing chord progressions. All of the chord progression exercises had a tonic/dominant focal point. The other observation was many participants, as with question 1, used a written, prepared answer in the post-course test but not in the pre-course test. Although I could not determine exactly what participants had written in front of them, it would appear as if the prepared answers were written on the grand staff as music notation.
228 Overall pre-course and post-course test results
Table 5: Overall pre- and post-course test results
The overall data sample is too small to extract definitive conclusions as to the effectiveness of the course. The post-course test (red columns) compared to the pre-course test (blue columns) suggests the course was successfully delivered in terms of participant scores at the end of the course. There are several factors that have important implications on the results.
The majority of participants scored very low on every question in the pre-course test because the questions were not performed completely. Had participants prepared answers in the pre-course test, as they did with the post-course test, the results might have been very different. Assumptions can be made about why participants did not prepare for the pre-course test.
229 One assumption is that participants did not know how to prepare answers for the pre-course test but did know for the post-course test after learning the course material. Another assumption is participants did not practice, or have time to practice, the material prior to the pre-course test and as a result did not prepare any written answers. Based on the observations of the pre- and post- course test recordings, it is far more likely that the former assumption is accurate.
The results of the first question raise questions over the necessity of including treble position chord labelling in question 2. The inclusion of treble position was based on the concern of beginners of Keyboard Harmony not being able to form close position chords. The results indicate treble position created more of a problem than its intended purpose. The chord exercises in the opening weeks are presumably adequate in providing participants with close position chord practice.
The following section discusses the feedback provided by the course participants.
Participant Feedback
Student evaluation questionnaires for this project were designed and administered through Blackboard for participants after they had finished the post-course test. Questionnaire responses were to be saved by participants using the feature built into Blackboard. Due to technical issues, the data was not saved on the Blackboard course site.
230
I emailed the participants, requesting that they send me course feedback; the feedback was to be based on the original questionnaire. This request was to minimize the time needed by participants to complete the task because they had already completed everything required for the course. The following is an extract from the email I sent to participants.
If you all could submit a short 100-300 (max) word email outlining your experience with the online course […] include: What you liked/didn’t like about the course (including the learning materials and videos, layout of the course and overall presentation), the ease/difficulty of access, things that could be improved and whether or not you feel that learning online is as good as, or not as good as, learning in a class room.
The following section contains the responses some of the participants gave in response to the email. These responses provide valuable insight into the thought processes of the participants during the course. Not all participants that completed the course responded. However, some of the participants that withdrew from the course provided feedback on the course prior to them being unable to participate further. These responses are categorised into three sections that indicate how participants felt about the course. The sections are
Course Design, General Comments (including online or in-class preference) and
Suggested Improvements.
231
The overall tone of the responses given regarding the design of the course was positive. There were no responses given indicating problems with the course design. This was in part due to the ease of access and navigation within
Blackboard to the relevant material, with the exception of the administrative issues experienced in the early stages of the course. This suggests participants were sympathetic to the logistical problems over which I had no control. There were, however, several comments regarding the preference of learning in-class as opposed to online. A summary of these responses can be found in Appendix I.
232
Responses such as these highlight important points indicative of participant attitudes towards the course and online learning in general. The technical set-up of a participant, including their Blackboard login, prior to commencing the course is arguably a key factor when considering any form of online learning. It is a factor I had not considered and is an area that future research into online learning for practical components of music education should consider. Having a setup test or ensuring that participants have a minimum standard of computer hardware and Internet connection speed is an appropriate step to ensure that the course and live interaction with the educator can be delivered without impediment.
The technical issues hindering access to Blackboard identified earlier would need to be addressed before commencing both the pre-course test and the online course. The problem with activating accounts for participants who were not students at the University of Newcastle was a significant setback with regards to running this course effectively. It is understandable that external participants need to go through an activation process because the use of Blackboard is not a free service. Given the ease of use for myself as a student at the University, it did
233 not occur to me that this might cause problems for participants outside of the university. Having not anticipated the issues I encountered, further research into online learning with Blackboard will be enhanced by ensuring access for all the participants. These issues delayed and subsequently disrupted access for some participants. This was a disappointing aspect that was highlighted in several responses.
Another important issue raised in the responses was with regard to having access to the answers of weekly tasks in order for participants to check that they had completed the work successfully or were on track to do so. It is a difficult scenario to set up properly as having ready access to answers could mean participants see how the task is to be played before attempting it. In hindsight, the addition of answer videos or responses would have helped some participants get more out of the course.
Despite the technical and administrative considerations, there are several changes needing to occur to the course content and its delivery in light of the participant results and feedback. The instruction of treble position should be removed and replaced with more instruction on figured bass and letter-name chords. The chord progression transposition exercises should be reduced in length, while encouraging participants to try and transpose the progression at sight, without writing it out. The interaction between the participants and myself needs to increase to ensure participants receive any necessary feedback to ensure steady progress. This could be as simple as making it compulsory for participants to provide a brief email after they have completed each week’s work.
234 235 Chapter 9 - Conclusions
The aim of this research project was to identify and trial some of the processes involved in creating and implementing an online Keyboard Harmony course.
These processes help to determine the feasibility of the course and subsequently add to the research available in online Keyboard Harmony courses. To that extent, this project has successfully identified processes that are required when delivering Keyboard Harmony instruction online.
There are two distinct perspectives taken in determining the feasibility of this project. The first perspective looks at the issues surrounding the creation of the course and the other looks at issues surrounding the implementation of the course. The differentiation between the issues surrounding the creation and implementation the course was made because of the different roles I had to adopt as both ‘course author’ and ‘course administrator’.
As the course author, using the cyclical ADDIE model as a course-creation template was time-efficient. The tried and tested methodology allowed for a systematic approach to the courses design. Working through the different ADDIE phases kept progress on track and assisted in identifying problems that inevitably occur. Each phase was revisited, sometimes on numerous occasions, so alterations could be made when problems were identified. This increased the amount of time required for each phase; however, some of the problems occurring might not have been identified without using ADDIE at all.
236 The Analysis phase, for example, was revisited several times. The wording of the individual tasks in the task analysis had to be changed several times to suit a logical sequence of steps. This seemed like an undemanding activity at first; however, it proved to be more complicated than expected. The final version of the “Test Item 1” is worded “Construct and play major and minor triads”. This is the entry-level task. Prior to this, the wording had been a mixture of “Identify and construct major and minor triads” and “state and play major and minor triads”, as well as whether to use ‘triads’ or ‘chords’. The final version was eventually determined when the practice items were being designed and developed for the first lesson.
The phase requiring the most time to accomplish was the development phase.
Organising recordings and recording venues, editing recordings, becoming familiar with multiple software packages, and designing the course through
Blackboard all required more time than anticipated. When recording began for the performance video, I had booked the recording studio for one-hour sessions.
Much time was needed to setup the camera position, move to and play the example at the piano, and then go back to the camera to check if the recording was adequate. It took approximately ten minutes to set up and ten minutes to put away the recording equipment. After four one-hour sessions in the first week,
I had recorded only the piano examples used in the first week’s lesson. To address this, the recording studio was booked for two-hour sessions the following week and the progress was significantly improved.
237 Having another person assist with the camera, so that the subject being filmed does not have to constantly move between the piano and camera would have saved a significant amount of time. In addition, the participation of a second person would significantly speed up the setup and packing up time of the recording equipment.
The storyboards for the instructional videos were created at the same time as the videos were being recorded. Storyboards are crucial in planning the development of the videos if a person, other than the designer, is creating them.
Making storyboards was not crucial for this project because I was making the videos as well. The creation of the storyboards was more useful than anticipated.
It helped to identify videos that lacked balance and consistency compared to other videos. Details such as scene length, use of call-outs, and quantity of images become clearer when you have the details on paper.
As the course administrator, the course was simple to manage. This was because of the low number of participants overall, as well as the low number of participants who actively sought help with the coursework. Other than resolving participant access issues with the Blackboard administration team, the most complicated aspect of administrating the course was time management during the Skype recordings of the pre- and post-course tests. This was partly to do with having overseas participants and partly to do with my own employment commitments. Even after considering these factors, working around participants’ schedules was more complicated than anticipated. Occasionally participants
238 forget to logon for their appointment or are only available at times that were inconvenient for myself.
Arranging appropriate recording times with participants might have been difficult to organise had there been more participants involved. Managing appointment times would be easier by having a strict time period that participants must adhere to for their recording time. Another possible solution could involve participants recording their tests on video and submitting the recording by a set date. This would be particularly useful for participants living abroad.
Matters involving participant appointments and engagement in this project, as mentioned earlier, are indicative of the voluntary nature of the project. If participants were receiving accreditation for the course or paying to enrol, then it is likely that there would have been fewer complications with organising meeting times. It is my assumption that participant behaviour towards courses with no formal accreditation results in an insouciant, but curious, approach to the research being conducted.
Participant behaviour in relation to technology is one of the philosophical underpinnings of this research. McLuhan mentions media being hot or cold, and the internet is both a hot and cold medium therefore its feasibility in being used as an alternative to on site teaching is dependant on the level of engagement by the user. This point is alluded to in the results of this project with some participants either dropping out or finishing the course without having
239 completing the required coursework. Online courses are the same as on site courses with regards to user discipline. An active and engaged approach to the material being delivered, not just passively reading or listening to the material, as one might do with a radio program or movie, is required.
The lack of engagement could be related to the relevance of the material being delivered. Participants may have not seen the relevance of the material being taught, or may have not enjoyed the material. This aligns, in part, with Adorno’s view on the disengagement with music as a result of the culture industry. While this point is speculative, it is not unreasonable postulate why and how students engage with music is a result of the influence of the Culture Industry, either directly or indirectly.
Research Findings
A breakdown of the estimated time spent on each phase of the ADDIE model is shown in the following list:
o - Analysis 15%
o - Design 15%
o - Development 40%
o - Implementation 25%
o - Evaluation 5%
As the list shows, the creation of the instruction videos and course content, as well as the running of the course, took the bulk of the time. The time taken to
240 complete the formative evaluation of the course is factored in with each of the
ADDIE phases. The summative evaluation took a relatively shorter time, although this was largely to do with the preparation of the course work prior to the Implementation Phase.
The greater part of the practice items was the selection and presentation of original examples that I made. This was done primarily to avoid problems with copyright infringement but also to tailor the course work to suit both the pre- and post-course test items, along with the lesson objective for the relevant week.
This was particularly useful when creating examples highlighting a particular chord, such as all the transposition exercises in weeks 6-10. Creating my own examples to suit the lesson objectives, rather than searching for examples to use from other texts, saved many hours of searching to find examples appropriate for the course.
Most of the participants who took part provided evidence of improvement, although this evidence cannot be conclusively attributed directly to the online course alone. A larger pool of participants, as well as a set of precise, measurable parameters, needs to be established to draw stronger evidence of the project’s effectiveness. Furthermore, participants need to be at a similar level to further gauge how successful the course is in relation to the content taught in the online environment. The participants for this research project were diverse in their ability and experience at the commencement of the course. Providing definitive conclusions from the pre- and post-course test results alone, however, was not the aim of the project.
241
The responses from the participants reinforce the potential for Keyboard
Harmony to be taught exclusively online. This is despite the administrative and technical interruptions affecting numerous participants. These are factors to be expected when trialling a comparatively new delivery method. One common aspect of online learning, however, was not engaged in by any of the participants.
The discussion board feature on Blackboard was set up to allow participants to discuss any problems or issues they might have with anything in the course. The absence of course work discussions can be a factor in overall participant achievement. It can affect group learning and the sense of the class as a community, rather than an individual relating to the teacher. It is unlikely the lack of class discussions had any effect on participant performance in this project.
One possible way to increase discussion board activity would be making it compulsory for participants to leave comments in the discussion board section on each week’s practice items and have these comments assessed. The comments could include any difficulties they experienced and how they overcame them. The online dialogue between participants could help those who had similar experiences or problems and find solutions as a result. This gives me the ability to respond directly to threads in the discussion board and assist with answers or strategies for particular practice items that may be proving difficult to play. This has the potential to address a participant’s sense of isolation or ‘a lonely experience’, as was the case with Participant 16.
242 A further change would be to offer answer or partial answer videos, demonstrating how the practice items on the work sheets should be played. The decision to not include all the answers was out of concern that the participants might not attempt to do the work themselves if it became difficult and opted in viewing the videos instead. One potential idea is to incorporate a system in making an answer video available to participants after they submit a video of their attempt. This could be useful for any participant who experiences difficulties throughout the course, even those who felt that a lesson video was not necessary.
Discussion and Further Research
This online course was created with the support of a tertiary institution and allowed access to resources without incurring additional costs. This is an important factor to consider when choosing what software, hardware, and recording space to use. The number of free-to-use resources that have since become available, however, allows the creation of an online course without institutional support within appropriate fiscal parameters.
Any research project involving computing technology will be faced with the certainty that technology will develop and improve. Processing speeds, graphics capabilities, and storage capacities have become more efficient and affordable.
The technology, particularly Internet related technology, available to myself and the participants of this course will become obsolete over the coming years. It is
243 assumed, however, that with a carefully considered course design, the course content can be adapted with newer technology.
There were technological advances announced during the projects creation, potentially enhancing online learning experience. An improvement in graphics technology was announced in 2012 with the development of Ultra High
Definition digital video formats (UltraHDTV, 2013). While this is still in the early stages, the potential for much higher quality video resolution would allow for fast or intricate finger and hand movement to be viewed without blurring.
During this project, the tablet computer and smartphone were released. This technology led to Blackboard being made available as an ‘app’: a self-contained program designed to perform a specific set of tasks or function
(BlackboardMobile, 2012). In this instance, the Blackboard app means it is possible to participate in this online Keyboard Harmony course, including viewing and downloading video, as well as performing the Skype assessments, from the one device. The impact that this could have on an online Keyboard
Harmony course is noteworthy. A tablet computer or smartphone can be placed on the music stand of the piano and lesson videos can be viewed directly at the piano on the piano music stand. In addition, a tablet computer or smartphone allows recording of assessments with fewer technical difficulties, such as moving a desktop or laptop computer into position to record. Participants can record an assessment or any specific piano problem they might have that is difficult to explain by email by uploading it to Blackboard while sitting at the piano.
244 Additionally, by using the Skype app, participants to perform their assessments from the same device.
Creating a Keyboard Harmony course app for a tablet computer, rather than a course through Blackboard or another online learning environment, is another point of departure from the current research project. At the time of the implementation phase of this project, tablet computers were, and still are, widely used, largely because of their portability and user-friendliness. From a research perspective, this would eliminate the need to access Blackboard through a tertiary institution, as was done for this project. It is important to note that this technology was in its infancy at the commencement of my research.
The benefit of the portability of tablet computers and smart phones justifies further research into online learning in music degrees. There are numerous alternatives that can be utilised. Keeping the course on Blackboard, however, is seemingly more convenient for a tertiary student who is already enrolled. This is based on the assumption that the other degree related courses and course information are accessed through Blackboard. Exploring the delivery options for a non-enrolled student in a tertiary degree has the potential to promote the importance of a holistic approach to online Keyboard Harmony and keyboard studies in a broader context.
245
Appendices
246 Appendix A National Broadband Network
The NBN is, at present (2013), an ongoing federal government initiative replacing the current copper wire telephony infrastructure with fibre optic cabling and improve Australia’s ‘Digital Economy’35 (Peitz & Waldfogel, 2012).
This project, forecast as the most expensive in Australia’s history when it reaches completion, will provide significantly faster Internet to 93% of Australian households with a cost of $43 billion (AUD)36. Expenditure at this level for infrastructure having a function of delivering fast Internet speeds suggests the importance the Internet has in our economy. There are many opinions as to what the NBN has to offer Australia. The Northern Rivers webpage dedicated to providing information about the NBN in regional areas of Australia offers one such opinion, stating that:
The digital economy has the potential to transform every aspect of our lives including business, health, education and government services. The means to unlock this potential is broadband the core infrastructure of the
new century (RDA, 2009).
Opinions on the potential benefits of the NBN for businesses can be found in a
2010 publication by “Access Economics”. In a report on Australian Business
Expectations of the NBN, it found that:
The survey results and the case studies presented in this report support the premise that the NBN will unlock significant gains for Australian businesses, consumers and the economy as a whole. Given its increased
35 The digital economy, sometimes referred to as the Internet Economy, refers to the economics of business and trade that occurs online. 36 The cost and infrastructure arrangement of this project has been modified as a result of the change in Government in the 2013 federal election. The figure quoted is an approximation prior to this change.
247 reach, speed and capacity, the NBN can be expected to drive productivity gains of an order of magnitude even greater than those experienced as a result of earlier ICT/broadband innovation (Simes, Hutley, Havyatt, &
McKibbin, 2010, p. ii)
The educational benefits of the NBN are numerous. These include accessing online learning materials, attending virtual classrooms through video conferencing and allowing greater discourse between teachers and students who would ordinarily be restricted by geography. The benefits for teachers are found in the limitless possibilities of how a teacher can deliver learning material.
Teachers will be able to create online courses and create a safer, digital, environment for both teachers and students to work in (Braue, 2011).
The NBN is a fibre optic infrastructure replacing the current copper wire infrastructure, will possibly deliver internet speeds 100 times faster than current speeds 37 . Many household users and business use an ADSL2
(Asymmetric Digital Subscriber Line) internet connection, which provides an approximate maximum download speed of 24 Mbps assuming one is very close to the internet exchange. The following table shows how fast a home user is able to download a 1 Gb file at varying rates of download speed:
37 Depending on your Internet provider and equipment.
248
100 Mbps (NBN) 1m 20s
30 Mbps 4m 27s
12 Mbps (ADSL2) 11m 7s
256 kbps (ADSL1) 8h 41m
56 kbps (Dial up) 1d 16h
Table 6: Downloading 1 Gb of Data at various speeds (NBNAustralia, 2010)
The speed results from the first stage of the NBN’s implementation in Tasmania yielded data beyond what was anticipated. In August 2010, it was announced the
NBN would be able to deliver speeds ten times faster than the original 100 mbps promised. This means the top speed of 100 Mbps in the above graph would be replaced by a figure that shows 1Gb of data being downloaded in approximately
10-15 seconds.
The Communications Minister, Stephen Conroy, said “The announcement by NBN
Co to increase capacity on the network shows that fibre technology is truly about future-proofing the nation” (Rogers, 2010). Future-proofing, in this context, is ensuring the NBN infrastructure will provide Australia with Internet speeds that will not be superseded by a newer, more cost-effective technology in the foreseeable future. This is because, at present, there are no current or developing technologies capable of making fibre-optic cables obsolete (NBNConcerns, 2011).
Given the vast amounts of data the NBN will be capable of transferring, future- proofing also requires improved means of storing these data.
Scientists successfully created a byte (8 bits) of data storage only 96 atoms in
249 size. This, when compared to the half a billion atoms required to, at present, store a byte of data, is a significant reduction of physical space required to store data. While it is decades away from becoming commercially viable, it demonstrates the need for the NBN to future-proof these improving technologies
(Boyle, 2012). It is not unreasonable to hypothesise, eventually, that Australians will want 100Mb+ Internet download speeds based on those trends in contrast to hypothesising that Australians will not need it.
The arguments against the NBN include the price tag. The cost of the NBN was originally estimated at $43 Billion (AUD); however, this was later revised to approximately $35.9 Billion (AUD) (NBNAustralia, 2010). This revised total still makes the NBN the largest single project an Australian government has ever undergone. The available evidence as to the benefits of the NBN, however, suggests there are more potential benefits to the NBN than potential hindrances.
Among all of the benefits the Internet has to offer, it is the scholarly possibilities that make the Internet a significantly important component to education. Access to a wide array of useful information at fast speeds can benefit students and, as such, improve their learning outcomes. The Internet, combined with Internet accessible technology, is at the forefront of efficiency in many areas in modern societies, and with improved efficiency comes improved economic growth. With current internet technology and usage of internet download speeds, it is difficult to foresee the need for 1Gb speeds, especially for the average home user; however, technology is regularly improving and the need for such speeds is
250 something that will be determined in the future by having access to it, not by waiting until the need is obvious and ultimately more expensive than to establish.
It is important to note, however, that at the 2013 Australian federal election, there was a change in government and their NBN policy differed slightly from the aforementioned policy above. While many of the core features are similar, the main differences involve the extent to which optical fibre cabling is used.
Since this election in September 2013, the proposed policy limits the cabling to the telephony exchange, or the ‘node’, and existing copper-wire infrastructure from the exchange to the home is maintained (know as Fibre To The Node FTTN).
The previous government’s policy included optical fibre from the ‘node’ to the household (known as Fibre To The Premise FTTP). Despite these differences, although they impact the speed of information exchange significantly, the investment into Internet infrastructure highlights the influence of the Internet presently and the future.
251 Appendix B
Recruitment Related Documents Participant Recruitment Form
Gian-Franco Ricci Faculty of Education and Arts – School of Music Cnr of Auckland and Laman St 4921 8916 [email protected]
Information Statement for the Research Project: Synchronous and Asynchronous online learning. Document Version 1; dated 05/08/11
You are invited to participate in the research project identified above which is being conducted by Jordan Wett from the School of Music at the University of Newcastle. The research is part Jordan Wett’s studies at the University of Newcastle, supervised by Gian-Franco Ricci. You will receive no further requests for participation in this project after this.
Why is the research being done? The purpose of the research is to determine whether or not conducting an online (using the internet) Keyboard Harmony course is feasible and practical for tertiary level piano students. It will also help to determine whether or not it offers a realistic alternative for students unable to move from their location to attend the University of Newcastle. Increases in the availability of online degrees being able to be completed solely online suggest that there is demand for greater flexibility in completion times of higher education studies. Online courses can be seen as a realistic alternative to in-class attendance given factors such as the current economic environment and the ever increasing speed and reliability of the internet. The data collected will help to determine what may or may not need improving using online delivery and student satisfaction with the online learning environment in a keyboard harmonic techniques course.
Who can participate in the research? We are seeking any first, second or third year tertiary level piano students and must be of at least 18 years of age or keyboard players 18 years and over, not enrolled in tertiary studies, but have had at least two years of piano playing experience. Your experience in Keyboard Harmony is not essential. You are being contacted as a result of your enrolment in piano at your place of study or affiliation with your teacher.
252
What choice do you have? Participation in this research is entirely your choice. Only those people who give their informed consent will be included in the project. Whether or not you decide to participate, your decision will not disadvantage you. If you do decide to participate, you may withdraw from the project at any time without any consequences.
What would you be asked to do? If you agree to participate in this Keyboard Harmony course, you will be asked to enroll into the Conservatorium of Music in Newcastle for the purposes of obtaining a unique ID login for Blackboard (an online learning website where the course is being run). Once you have your unique ID, log on to the Blackboard website once a week for 13 lessons over 13 weeks. There will be a short assessment task via skype which will require you to be near a piano and perform an assessment task which will be email you should you agree to participate (this should take no longer than 5 minutes) and a questionnaire to complete before and after the course. You will need to have access to a computer with an internet connection as well as access to a piano/digital keyboard. There will be assessments conducted that will require you to record your work as either a sound or video file and upload them onto Blackboard. The final assessment will be conducted via webcam similar to the pre-course assessment, with the teacher, which will require you to have access to a computer and piano at the same time which will only be recorded and used for research purposes if you give your consent at the start. Each assessment will be marked according to the criteria set out on the website. The marks gathered, along with data from questionnaires given before and after the course, will help to determine the success of online delivery in relation to variables such as prior experience in online chat programs and in Keyboard Harmony. Only the researcher, Jordan Wett, will have any contact with you either via email or live via webcam. Your name will be kept confidential in the research. The will be no reimbursements or payments for your time, however by participating you will be able access useful learning material for pianists at no cost.
How much time will it take? The approximate time it will take to access and view the learning material each week will be twenty minutes which can be practiced at the piano whenever is convenient for you. How long you wish to practice the material is completely at your discretion. The assessments to be recorded and uploaded, will be of approximately 2-8 minutes in duration. The live webcam session will be of approximately 15 minutes, depending on factors such as connectivity and possible issues with setup. The questionnaires should take approximately 5-10
253 minutes to complete. The pre and post tests will take approximately 5-10 minutes to complete.
What are the risks and benefits of participating? There are no known risks involved in this research. The benefits, however, include free training in basic areas of Keyboard Harmony that can assist in areas such as accompaniment and solo performances.
How will your privacy be protected? All information collected during this project, i.e. verbatim quotations, test results and questionnaire responses, will be stored securely and only accessed by the researchers unless you consent otherwise, except as required by law. Data will be retained for at least 5 years at the University of Newcastle. Your name will not be used in the publishing of any data and it will be replaced with an alias should the need arise.
How will the information collected be used?
The data collected will be published as part of a Doctoral thesis. You will not be identified in this upon publication. Your results from assessments (including the live webcam sessions) and any queries or quotes that relate to issues in the online course will be, however. You will be able to review recordings made in order to edit or erase your contribution should you want to.
If you have any queries relating to how and what data will be published, you may view your contributing data prior to this publication.
What do you need to do to participate? Please read this Information Statement and be sure you understand its content before you consent to participate. If there is anything you do not understand, or you have questions, contact the researcher.
If you would like to participate, please complete the attached consent form and return it to your teacher or scan and email it to my email address listed below. Should you give your consent, you will then be contacted to arrange further details at a time convenient to you.
Further information
254 If you would like further information please contact either Jordan Wett [[email protected]] [[email protected]] or Gian-Franco Ricci [[email protected]. Thank you for considering this invitation
255 Participant Consent From
Dr Gian-Franco Ricci School of Drama, Fine Art and Music Cnr Auckland and Laman Street (02) 4921 8916 [email protected]
Consent Form for the Research Project:
Online Synchronous and Asynchronous Learning
Jordan Wett
Document Version; dated
I agree to participate in the above research project and give my consent freely.
I understand that the project will be conducted as described in the Information Statement, a copy of which I have retained.
I understand I can withdraw from the project at any time and do not have to give any reason for withdrawing.
I consent to : - Having my personal details and data collected from Blackboard© securely stored on the conservatorium of music, Newcastle, database. - Completing a questionnaire before and after the course on Blackboard. - Participating in the online course through Blackboard. - Having my Skype© lessons and/or assessments recorded for research purposes - Having any relevant data/results published for research purposes under the condition of anonymity.
I understand that my personal information will remain confidential to the researchers.
I have had the opportunity to have questions answered to my satisfaction.
Print Name: ______
256
Address: ______
(please use either your [email protected] or your regular, non educational institution specific email address)
Age: ______
Signature: ______Date: ______
257 Conservatorium Enrolment Form
THE CONSERVATORIUM STUDENT ENROLMENT FORM PERSONAL DETAILS: Student last name: First name: Other names: Address: Postcode: Date of birth: / / Sex: M F School: Year: Parent/Guardian name (if under 18): Mail should be addressed to – name and title: Telephone: (H) (W) (M) Email: In emergency contact – name: Telephone: Relationship to student: Medical conditions:
Do you consent to provide details of medical conditions to your teacher? Y N ENROLMENT DETAILS: I wish to enrol in the following programs (please tick) Newcastle Maitland Commencing term Term 1 Term 2 Term 3 Term 4 Enrolment year
1. Early Childhood Music 1 year old 2 year old 3 year old 4 year old 5 year old Level 1 Level 2 Level 3 Class teacher (if known): Class number (if known): 2. Junior Instrumental Program (keyboard only) Introductory semester JIP 1 JIP 2
3. Single study instrument: Teacher’s name: Lesson length: 1/2 hour 3/4 hour 1 hour Shared lesson (1/2 hour only)
4. Music Craft Preliminary grade 1st grade 2nd grade 3rd grade 4th grade Combined musicianship 5. Individual Music Theory Lesson length: 1/2 hour 3/4 hour 1 hour 6. Workshops/other: 7. Ensemble: Children’s Choir Concert Band Crotchets & Quavers Wind Orchestra Flute Choir Chamber Choir Seniors Choir Callaghan Singers Hunter Strings Preliminary Vivaldi Brandenburg Camerata 8. Workshops/other: 9. Do you have a Scholarship: Yes I have read and accept the Conditions of Enrolment as outlined below. Signed: Student/Guardian (if under 18) Date:
PAYMENT DETAILS: Cheque/money order $ (Payable to: The University of Newcastle) Please debit my credit card: Visa Mastercard Card Number: Expiry Date: / Amount: $ Cardholder Name: The University of Newcastle – School of Drama, Fine Art & Music Cnr Auckland & Laman Streets, Newcastle NSW 2300 T: 02 4921 8900 F: 02 4921 8958
CONDITIONS OF ENROLMENT 1. It is the responsibility of parents/guardians to drop off and collect their child/children on time. The parent/guardian must inform the Conservatorium in advance if a person other than the parent/guardian is collecting the child/student. 2. Non-enrolled students are not the responsibility of the Conservatorium. 3. Fees must be paid by the beginning of the term prior to commencing lessons. 4. A term consists of 9 weeks with one lesson per week. Extra lessons can be arranged for an additional fee. 5. All tuition fees are a term fee and are non-reducible and non-refundable. 6. Refunds/credits will not be given for student absences or withdrawals from lessons nor will make up lessons be provided in such circumstances. This applies to single study, ECM and other class/group activities. 7. Refunds will only be made, without a service fee, where classes are discontinued due to insufficient enrolments. 8. Fees will only be credited to the following term if a single study teacher is unable to give a lesson and a “make up” lesson is not possible. 9. A STUDENT IS NOT PERMITTED TO RE-ENROL FOR A NEW TERM OF STUDY IF THEY ARE IN ARREARS FOR FEES IN A PREVIOUS TERM. 10. Term fees must be paid before a student is entitled to hire an instrument. 11. The Conservatorium reserves the right: to decline or cancel an enrolment in any of its courses; to cancel classes at any time; to cancel classes due to insufficient enrolment numbers; to cancel programs at any time; to change the teacher for any tuition at any time.
258 Blackboard Account Form
Affiliated user account request
This form is for Category 2 affiliated users. For details refer to http://www.newcastle.edu.au/service/computer-accounts/affiliated-users.html By submitting this request you confirm that you accept the terms and conditions of the University Computing and Communications Facilities Conditions of Use Policy at: http://www.newcastle.edu.au/policy/000817.html
Please complete all fields to avoid delays with processing Applicant Details
Firstname UniID eg abc123 (if known) Middlename
Lastname
Date of birth
Email Phone
Affiliation Details Access required from to
*** Please enter details of Affilliation type Affiliated group and building location in the space below Affiliated Faculty/Division
School/Portfolio
University contact
University contact email
University contact phone
Services requested
Renew existing services Return signed completed form to 17triplezero IT Service Desk BlackBoard access EMAIL Select ONE of the options below CT Building Foyer Internet access from computers on campus University GroupWise email account Drop Box No printing access available eg. [email protected] or fax to (02) 4921 7087
Maximo Redirect email to address entered in Applicant Details
Authorisation Approval by Delegation Band 1 - 5 is required (http://www.newcastle.edu.au/policy/000083.html)
Approved By: Position:
Signature: Date:
259 Appendix C
Lesson Planning Draft Version Lesson Plan
Lesson 1 – Triads
- Introduction to chord playing using the chord exercise for right and left hand. Explain this as a preparatory exercise for the hand technique to assist in manoeuvring around the piano. - Introduction to the degrees of the scale and how chords are applied to it. (tonic to leading note). - Introduction to pop chord analysis.
Students will be able to • construct a major and minor chord in both right and left hands in all keys. • identify chords as Major, Minor, Augmented and Diminished. • be able to label a triad in pop chord analysis based on its tonality.
Lesson 2 – Treble and Bass position
- Introduction to treble triad position. - Introduction to bass position.
Students will be able to • play major and minor triads in the right hand in the inversion indicated by the labeled treble position. • play major and minor triads based on the inversion indicated by the labeled bass position (figured bass).
Lesson 3 –Chord Labelling and Transposition
- Introduction to labeling diatonic chord progressions using Roman numerals and figured bass. - Further exercises with triads - Sequence exercise that exposes different inversions of chords (I vi IV ii progression connected by third relation) connected by a common tone. This is to be submitted as a video/sound file for assessment in Lesson 5. - Introduction to chord transposition. Students will be able to • understand the difference between the position of a chord as a whole (between both hands) and the position of a chord of a particular hand. • play triads in their correct inversion based on the figuring • identify and play all possible inversions of a diatonic chord from any given note. • transpose a labelled chord into other keys.
Lesson 4 – Voice Leading • Introduction to appropriate voice leading when moving between different diatonic triads.
Students will be able to - • move between two chords with a common tone/s whilst keeping their common tones/s in the same voice/s. • move between two chords without a common tone by moving all upper parts in contrary motion to the bass part.
Lesson 5 - Assessment
- Assessments conducted using live video feed and recorded submissions of assigned material. The live video feed will observe one of the progressions covered in the previous weeks as well as improvisation. The recorded material is mentioned in Lesson 3. - Revision – reminders of examples to practice - Exercises on finding common tones between chords to ensure smooth chord transition. Use exercise 1C -
Lesson 6 – Tonic, Dominant and Dominant Seventh Chords
- Introduction to the Dominant and Dominant 7th chord - Introduction of the Cadential 6/4 - Introduction to harmonisation
260 Students will be able to • Play dominant and dominant 7th chords that resolve to the tonic, with correct voice leading in all keys. • Play a cadential 6/4 with correct voice leading in all keys. • Appropriately harmonise a short folk melody using dominant and tonic harmony.
Lesson 7 – Chord ii
- Introduction to the use of chord ii (supertonic) in a diatonic progression.
Students will be able to • Play a short harmonic progression that includes chord ii in all keys. • Construct an original chord progression that includes chord ii.
Lesson 8 – Chord Vi
- Introduction to the use of chord Vi (Sub-Mediant) in a diatonic progression.
Student will be able to • play a short harmonic progression that includes chord Vi in all keys. • Construct an original chord progression that includes chord Vi in all keys.
Lesson 9 – Chord III and Clef Reading
- Introduction to the use of Chord III (Mediant) in a diatonic progression. - Introduction to reading the alto clef.
Students will be able to • play a chord progression that uses chord III, in all keys. • construct an original chord progression that includes chord III, in all keys. • harmonise a short folk melody incorporating chord III. • read and play a melodic fragment written in the alto clef.
Lesson 10 – Assessment
- Assessments using live video feed and recorded submission. - Revision – reminders of examples to practice
Lesson 11 – Improvisation
- Introduction to Improvisation
Students will be able to • Improvise an appropriate melody that uses chord, passing and neighbouring tones based on the chords studied in earlier weeks.
Lesson 12 – Revision and Quick Study
- Diatonic Chord Progressions that may include Chords I, ii, iii, IV, V and Vi. - Chord analysis - Improvisation - Quick Study given
Students will be able to • learn and perform a short piece of piano music for the final assessment in Week 13.
Lesson 13 – Final Assessment
- Quick Study - Chord Progression in 3 different keys - Figured bass - Sight reading
261
Final Version Pre-lesson Test– (The same as the final assessment)
Students will be able to • play a chord progression that includes chords covered in the course. This is then to be transposed and played in the new key. • play chords labeled in pop style, treble position and figured bass. • harmonise a short melody using chords covered in the course
Lesson 1 – Triads
- Introduction to chord playing using the chord exercise for right and left hand. Explain this as a preparatory exercise for the hand technique to assist in manoeuvring around the piano. - Introduction to the degrees of the scale and how chords are applied to it. (tonic to leading note). - Introduction to pop chord analysis.
Students will be able to • construct a major and minor chord in both right and left hands in all keys. • identify chords as Major or Minor. • be able to identify and label a triad in pop chord style based on its tonality.
Lesson 2 – Treble and Bass position
- Introduction to treble triad position. - Introduction to bass position.
Students will be able to • Play and Identify major and minor triads in the right hand in the inversion indicated by the labeled treble position. • Play and identify major and minor triads based on the inversion indicated by the labeled bass position (figured bass).
Lesson 3 – Chord Labeling and Transposition
- Introduction to labeling diatonic chord progressions using Roman numerals and figured bass. - Further exercises with triads - Sequence exercise that exposes different inversions of chords (I vi IV ii progression connected by third relation) connected by a common tone. - Introduction to transposition
Students will be able to • understand the difference between the position of a chord as a whole (between both hands) and the position of a chord of a particular hand. • play triads in their correct inversion based on the figuring. • identify and play all inversions of a diatonic chord from any given note. • transpose a melody and chords into other keys.
Lesson 4 – Voice Leading - Introduction to appropriate voice leading when moving between different diatonic triads.
Students will be able to - • Move between two chords with a common tone/s whilst keeping their common tones/s in the same voice/s. • Move between two chords without a common tone by moving all upper parts in contrary motion to the bass part.
Lesson 5 - Assessment
Students will be able to • Play all major root position and inversions chords from C major, chromatically to G major. -
Lesson 6 – Tonic, Dominant and Dominant Seventh Chords
- Introduction to the Dominant and Dominant 7th chord - Introduction of the Cadential 6/4
262 Introduction to Harmonisation
Students will be able to • play Dominant and Dominant 7th chords that resolve to the Tonic, with correct voice leading. • play a cadential 6/4 with correct voice leading. • appropriately harmonise a short folk melody using Dominant and Tonic harmony.
Lesson 7 – Chord IV
- Introduction to the use of chord IV (subdominant) in a diatonic progression. - Students will be able to • Play a short chord progression that includes chord IV. • Construct an original chord progression that includes chord IV.
Lesson 8 – Chord ii
- Introduction to the use of chord IV (subdominant) in a diatonic progression.
Student will be able to • Play a short chord progression that includes chord ii. • Construct an original chord progression that includes chord ii.
Lesson 9 – Chord Vi
- Introduction to the use of Chord III (Submediant) in a diatonic progression. - Introduction to reading the alto clef.
Students will be able to • play a short chord progression that uses chord Vi • construct an original chord progression that includes chord Vi. • harmonise a short folk melody incorporating chord Vi
Lesson 10 – Chord iii
- Introduction to the use of chord iii (Mediant) in a diatonic progression.
Student will be able to • play a short chord progression that includes chord iii. • construct an original chord progression that includes chord iii. • transpose a short chord progression that includes chord iii.
Lesson 11 – Revision - Work that covers material presented throughout the course.
Lesson 12 – Final Assessment
Students will be able to- • play a chord progression that includes chords covered in the course. This is then to be transposed and played in the new key. • play chords labeled in pop style, treble position and figured bass. • harmonise a short melody using chords covered in the course.
263
Appendix D
Story Boards
264 Story Boards Serial Number: 1 Slide Type: 1
Duration of Screen: 10 Slide Number: W1S1
Screen Shot:
VoiceOver Text: None
Slide Heading: Keyboard Techniques Slide Sub-Heading: Week 1 - Playing Chords Graphic Files: None Audio Files: Granados.wav Video Files: None
Comments: Sub heading appears 5 seconds after heading
265 Story Boards Serial Number: 2 Slide Type: 2
Duration of Screen: 30 Slide Number: W1S2
Screen Shot:
VoiceOver Text: Popular and Classical music is usually centred around a ‘Tonal Centre’. This is also known as a ‘Key’. To establish a tonal centre, chords related to the key are used. Understanding this chordal relationship helps us to understand how a piece of music is harmonically structured. This can make learning music easier.
Slide Heading: Popular and Classical Music Slide Sub-Heading: ‘Tonal Centre’ ‘Chordal Structure’ Graphic Files: None Audio Files: Debussypre.1.wav Video Files: None
Comments: Sub-headings appear when mentioned in voice over
266 Story Boards Serial Number: 3 Slide Type: 2
Duration of Screen: 25 Slide Number: W1S3
Screen Shot:
VoiceOver Text: Understanding the relationship between the chords and chordal reductions is similar to understanding grammar. The music on the right of the screen is the chordal reduction of the music on the left of the screen. This course will focus on chordal reductions, such as these, in a variety of ways.
Slide Heading: The Grammar of Music Slide Sub-Heading: Graphic Files: W1LNchords.jpg W1LNreduction.jpg Audio Files: Debussypre1.wav (continued) Video Files: None
Comments: Graphic files fade-in with commentary at the commencement of the slide.
267 Story Boards Serial Number: 4 Slide Type: 1
Duration of Screen: 20 Slide Number: W1S4
Screen Shot:
VoiceOver Text: Understanding how keyboard harmony functions is similar to learning a new language. If you understand the grammar of your native language, it is easier to learn another language.
Slide Heading: Se#hai#capito#come#la#tua#lingua#naiva#é#construito,#é#piú#facile#capire#che#in#un’altra#lingua,#come#Italiano Slide Sub-Heading: If#you#understand#how#your#native#language#is#constructed,#it#is#easier#to#understand#it#in#another#language,#such#as#Italian Graphic Files: None Audio Files: Debussypre1.wav (continued) Video Files: None
Comments:
268 Story Boards Serial Number: 5 Slide Type:
Duration of Screen: 10 Slide Number: W1S5
Screen Shot:
VoiceOver Text: The following four bars of music is Prelude no.1 by J.S.Bach. It will be first be played as it is written and then it will be played as a chordal reduction.
Slide Heading: Slide Sub-Heading: Graphic Files: W1Bachpre1.jpg Audio Files: None Video Files: None
Comments: Image takes up whole slide.
269 Story Boards Serial Number: 6 Slide Type:
Duration of Screen: 40 Slide Number: W1S6
Screen Shot:
VoiceOver Text: None
Slide Heading: Slide Sub-Heading: Graphic Files: None Audio Files: None Video Files: Bachpre1.mov
Comments: None
270 Story Boards Serial Number: 7 Slide Type: 1
Duration of Screen: 10 Slide Number: W1S7
Screen Shot:
VoiceOver Text: None
Slide Heading: Playing Chords Slide Sub-Heading: W1quote.txt Graphic Files: None Audio Files: SchumannSE.wav Video Files: None
Comments: Display content of W1quote.txt as Sub-Heading
271 Story Boards Serial Number: 8 Slide Type: 2
Duration of Screen: 60 Slide Number: W1S8
Screen Shot:
VoiceOver Text: This week’s lesson will focus on learning to play all major and minor chords in all of their positions. It is important, however, to ensure that you are familiar with some of the terminology used in this course. Scale degrees are the names given to each note of a major or minor scale. These are Tonic, Supertonic, Mediant, Sub-Dominant, Dominant, Sub-Mediant and Leading Note. To create a chord above any of these scale degrees we must add an interval of a 3rd and 5th. Adding these intevals above the Tonic note will give us a Tonic chord. Likewise, above the Supertonic note will give us a Supertonic chord.
Slide Heading: Scale Degrees Slide Sub-Heading: None Graphic Files: W1Scaledegrees.jpg Audio Files: Beetsontata.wav Video Files: None
Comments: Graphic appears at VoiceOver cue ‘Scale degree’. Zoom in on graphic when Voiceover ‘Tonic Supertonic’
272 Story Boards Serial Number: 9 Slide Type: 2
Duration of Screen: 30 Slide Number: W1S9
Screen Shot:
VoiceOver Text: When the tonic note of the chord is the lowest note, the chord is in Root Position. When the 3rd of the chord is the lowest note, the chord is in First Inversion. When the 5th of the chord is the lowest note, the chord is in Second Inversion.
Slide Heading: Chord Inversions Slide Sub-Heading: Graphic Files: W1Chordinv.jpg Audio Files: BeetSonata.wav (continued) Video Files: None
Comments: Highlight chords in graphic when they are mentioned in VoiceOver
273 Story Boards Serial Number: 10 Slide Type: 2
Duration of Screen: 25 Slide Number: W1S10
Screen Shot:
VoiceOver Text: Another way of labeling chords in either Root Positions or an Inversion is by using chords by their letter name, which is sometimes referred to as ‘pop style’. In the example on screen, the letter ‘C’ indicates a C major chord in Root Position. The ‘C’ slash ‘E’ indicates a C major chord in First Inversion and the ‘C’ slash ‘G’ indicates a C major chord in Second Inversion. Your main task for this week is to begin practising all major and minor chords in all of their inversions. The following video will demonstrate how to do this.
Slide Heading: Chord Inversions Slide Sub-Heading: Graphic Files: W1LNchords.jpg Audio Files: BeetSonata.wav (continued) Video Files: None
Comments: None
274 Story Boards Serial Number: 11 Slide Type:
Duration of Screen: 40 Slide Number: W1S11
Screen Shot:
VoiceOver Text: None
Slide Heading: Slide Sub-Heading: Graphic Files: None Audio Files: None Video Files: W1ChordExample.mov
Comments: None
275 Story Boards Serial Number: 12 Slide Type: 2
Duration of Screen: 60 Slide Number: W1S12
Screen Shot:
VoiceOver Text: This week we have discussed that music with a tonal centre can usually be reduced to it’s chord structure. We have looked at the scale degree names. We have also looked at chords in root position and in an inversion, labelled in ‘pop style’. Your main exercise for this week is to practice playing all major and minor chords in all of their inversions. If you have any difficulties, please contact me on the email address listed on the work sheet.
Slide Heading: Summary Slide Sub-Heading: W1summary.txt Graphic Files: None Audio Files: Satie.wav Video Files: None
Comments: display content of W1summary.txt as Sub-Heading
276 Story Boards Serial Number: 13 Slide Type: 1
Duration of Screen: 10 Slide Number: W2S1
Screen Shot:
VoiceOver Text: None
Slide Heading: Keyboard Techniques Slide Sub-Heading: Week 2 - Treble and Bass Position Graphic Files: None Audio Files: Granados.wav Video Files: None
Comments: Sub-heading appears after 5 seconds.
277 Story Boards Serial Number: 14 Slide Type: 2
Duration of Screen: 60 Slide Number: W2S2
Screen Shot:
VoiceOver Text: Welcome to week 2 of the online keyboard techniques course. This lesson will continue to focus on playing chords and their inversions.We will do this by looking at different ways to label chords. Treble position is a simplified way of representing a chords. It uses numbers that indicate the 5th, 3rd or 1st not of the chord is at the top. The example shows that when a ‘5’ is at the top, the chord is in root position. When ‘1’ is at the top, the chord is in first inversion and when the 3 is at the top the chord is in second inversion.
Slide Heading: Treble Position Slide Sub-Heading: Graphic Files: W2Chords.jpg W2chords1.jpg Audio Files: Granados1.wav Video Files: None
Comments: Display images with Voiceover cue ‘treble position’
278 Story Boards Serial Number: 15 Slide Type: 2
Duration of Screen: 60 Slide Number: W2S3
Screen Shot:
VoiceOver Text: If the same note has a different treble position label, the chord will be different. As in the example above, when the ‘e’ not has either a 1, 3 or 5 above, it changes the chord to an eminor in first inversion, c major in second inversion and a minor in root position, respectively. Therefore, a 1 equals first inversion, a 3 equals second inversion and a 5 equals root position. Let us now see some of these examples played at the piano.
Slide Heading: Treble Position Slide Sub-Heading: Graphic Files: W2chords2.jpg W2chords3.jpg athepiano.jpg Audio Files: Granados1.wav (continued) Video Files: None
Comments: highlight w2chords2.jpg when it is discussed in voice over. display ‘athepiano.jpg’ in voiceover cue ‘therefore’
279 Story Boards Serial Number: 16 Slide Type:
Duration of Screen: 25 Slide Number: W2S4
Screen Shot:
VoiceOver Text: None
Slide Heading: Slide Sub-Heading: Graphic Files: None Audio Files: None Video Files: W2TPosition.mov
Comments: None
280 Story Boards Serial Number: 17 Slide Type: 1
Duration of Screen: 10 Slide Number: W2S5
Screen Shot:
VoiceOver Text: None
Slide Heading: Bass Position (Figured Bass) Slide Sub-Heading: Graphic Files: None Audio Files: Rachpre.wav Video Files: None
Comments: Use the content of W2quote.txt for Sub-Heading
281 Story Boards Serial Number: 18 Slide Type: 2
Duration of Screen: 60 Slide Number: W2S6
Screen Shot:
VoiceOver Text: Figured bass is a simplified way of displaying chords and their inversions by using numbers to represent the intervals that make up a chord. A chord in root position has two intervals of a 3rd and a 5th. A first inversion chord has two intervals of a 3rd and a 6th and a second inversion chord has two intervals of a 4th and a 6th. As the example shows, we can use these numbers to indicate the position of the chord.
Slide Heading: Figured Bass Slide Sub-Heading: Graphic Files: W2FBass.jpg W2FBass1.jpg W2FBass2.jpg Audio Files: Mozart.wav Video Files: None
Comments: None
282 Story Boards Serial Number: 19 Slide Type: 2
Duration of Screen: 50 Slide Number: W2S7
Screen Shot:
VoiceOver Text: When you use the same note, but change the figured bass, the chord is different in each instance. In the example given, when the ‘c’ has ‘5’ ‘3’ underneath, it is a cmajor chord in root position. when the ‘c’ has ‘6’ ‘3’ underneath, it is an ‘a’ minor chord in first inversion and when the ‘c’ has ‘6’ ‘4’ underneath, it is an ‘f’ major chord in second inversion. We will now look at some examples of figured bass at the piano.
Slide Heading: Figured Bass Slide Sub-Heading: Graphic Files: W2FBass3.jpg W2FBass4.jpg Audio Files: Mozart.wav (continued) Video Files: None
Comments: None
283 Story Boards Serial Number: 20 Slide Type:
Duration of Screen: 30 Slide Number: W2S8
Screen Shot:
VoiceOver Text: None
Slide Heading: Slide Sub-Heading: Graphic Files: None Audio Files: None Video Files: W2FBass.mov
Comments: None
284 Story Boards Serial Number: 21 Slide Type: 2
Duration of Screen: 40 Slide Number: W2S9
Screen Shot:
VoiceOver Text: It is important to remember that treble position only indicates the position of the chord in the right hand. It does not, however, determine the overall position of the chord in both hands. This is determined by figured bass. If the treble position chord is in first inversion but the figured bass is in root position, the chord ‘whole chord’ is considered to be root position. The lowest note heard determines the overall position of a chord.
Slide Heading: Important Slide Sub-Heading: Graphic Files: None Audio Files: Satie.wav Video Files: None
Comments: Use the content of W2important.txt in Sub-Heading
285 Story Boards Serial Number: 22 Slide Type: 2
Duration of Screen: 50 Slide Number: W2S10
Screen Shot:
VoiceOver Text: This weeks lesson has discussed Treble and Bass position and how it is a useful way to read and play chords without the need to read the notation. Treble position chords are built from top to bottom and and figured bass chords are built bottom to top.
Slide Heading: Summary Slide Sub-Heading: Graphic Files: None Audio Files: Satie.wav (continued) Video Files: None
Comments: Use content of W2Summary.txt for Sub-Heading.
286 Story Boards Serial Number: 23 Slide Type: 1
Duration of Screen: 10 Slide Number: W3S1
Screen Shot:
VoiceOver Text: None
Slide Heading: Keyboard Techniques Slide Sub-Heading: Week 3 - Chord Labeling and Transposition Graphic Files: None Audio Files: Granados.wav Video Files: None
Comments: Sub-Heading appears after 5 seconds
287 Story Boards Serial Number: 24 Slide Type: 2
Duration of Screen: 60 Slide Number: W3S2
Screen Shot:
VoiceOver Text: This weeks lesson will focus on chord labeling. As explained in week 1, chords are constructed by adding a 3rd and a 5th above the given note. We can label these chord using letter names. The example on screen is of a cmajor scale with a 3rd and a 5th added to each note. This will give us a mixture of major and minor chords. When labeling major chords, we use an upper-case letter. For minor chords we use a lower-case letter and an ‘m’ or ‘min’ after it.
Slide Heading: Chord Labeling Slide Sub-Heading: Graphic Files: W3scale.jpg W3scalechords.jpg W3explain.jpg Audio Files: BrahmsVar.wav Video Files: None
Comments:
288 Story Boards Serial Number: 25 Slide Type: 2
Duration of Screen: 30 Slide Number: W3S3
Screen Shot:
VoiceOver Text: In the example on screen, we can use letter-name chords to label the chords displayed. Each chord has a C as a bass note and we label them as follows. C major, a minor on a ‘c’ base, F major on a ‘c’ bass and Bflat major on a ‘c’ bass.
Slide Heading: Chord Labeling Slide Sub-Heading: Graphic Files: W3Chords.jpg Audio Files: BrahmsVar.wav (continued) Video Files: None
Comments:
289 Story Boards Serial Number: 26 Slide Type: 2
Duration of Screen: 40 Slide Number: W3S4
Screen Shot:
VoiceOver Text: Another way to label chord is by using Roman Numerals. Roman Numerals indicate which position of the scale the chord is based on. As with letter name chords, Roman numers are both upper-case and lower- case to indicate whether they are major or minor chords respectively. So in summary, when playing a Roman numeral I chord, it is the tonic chord and when playing a Roman Numeral ii, you are playing a supertonic chord. We will now hear examples of this at the piano.
Slide Heading: Chord Labeling Slide Sub-Heading: Graphic Files: W3scale.jpg W3scaleRN.jpg RNtable.jpg Audio Files: BrahmsVar.wav (continued) Video Files: None
Comments: None
290 Story Boards Serial Number: 27 Slide Type:
Duration of Screen: 15 Slide Number: W3S5
Screen Shot:
VoiceOver Text: None
Slide Heading: Slide Sub-Heading: Graphic Files: None Audio Files: None Video Files: W3chords1.mov
Comments: None
291 Story Boards Serial Number: 28 Slide Type:
Duration of Screen: 20 Slide Number: W3S6
Screen Shot:
VoiceOver Text: We will now hear example 3 from your work sheet played at the piano.
Slide Heading: Slide Sub-Heading: Graphic Files: Audio Files: None Video Files: W3Chords2.mov
Comments: Begin video file after voice over has completed.
292 Story Boards Serial Number: 29 Slide Type: 1
Duration of Screen: 10 Slide Number: W3S7
Screen Shot:
VoiceOver Text: None
Slide Heading: Transposition Slide Sub-Heading: W3quote.txt Graphic Files: None Audio Files: Debussypre7.wav Video Files: None
Comments: Display content of W3quote.txt as Sub-Heading
293 Story Boards Serial Number: 30 Slide Type: 2
Duration of Screen: 60 Slide Number: W3S8
Screen Shot:
VoiceOver Text: Transposition is the shifting of the tonal centre, or key. This is done for various reasons, for example, if a singer cannot reach the range of a melody in a song, in can be transposed to make it accessible. One way of transposing a melody is to label it using it’s scale degrees. By labeling a melody by its scale degrees like the example on screen, you can simply use those scale degrees in a different key. This will now be played at the piano
Slide Heading: Transposition Slide Sub-Heading: Graphic Files: W3scaleN.jpg W3melody.jpg W3transmelody.jpg Audio Files: BrahmsVar.wav Video Files: None
Comments: None
294 Story Boards Serial Number: 31 Slide Type:
Duration of Screen: 20 Slide Number: W3S9
Screen Shot:
VoiceOver Text: None
Slide Heading: Slide Sub-Heading: Graphic Files: None Audio Files: None Video Files: W3TransMel.mov
Comments: None
295 Story Boards Serial Number: 32 Slide Type: 2
Duration of Screen: 80 Slide Number: W3S10
Screen Shot:
VoiceOver Text: We can transpose chordal progressions in a similar manner to melodies. By labeling the chords with Roman Numerals, we can use the chords that correlate with the Roman Numerals in the new key. Remembering the correct voice leading is important, as it will not be a true transposition if this is changed. We will now look at this at the piano.
Slide Heading: Transposition Slide Sub-Heading: Graphic Files: W3chordstran.jpg W3chordstran1.jpg Audio Files: BrahmsVar.wav Video Files: None
Comments: None
296 Story Boards Serial Number: 33 Slide Type:
Duration of Screen: 30 Slide Number: W3S11
Screen Shot:
VoiceOver Text: None
Slide Heading: Slide Sub-Heading: Graphic Files: None Audio Files: None Video Files: W3Transchords.mov
Comments: None
297 Story Boards Serial Number: 34 Slide Type: 2
Duration of Screen: 75 Slide Number: W3S12
Screen Shot:
VoiceOver Text: This week we have looked at chord labeling using letter names and Roman Numerals. We have also looked at transposing a melody and chordal progression. To transpose a melody label melody with the relevant scale degrees and to transpose a chordal progression, you label the chords with the relevant Roman Numerals. Remember it is important to be thinking of the key signature of the tonal centre you are moving to. If you have any trouble with your work sheet, please contact the email listed below. Slide Heading: Summary Slide Sub-Heading: W3summary.txt Graphic Files: None Audio Files: BeetSonata.wav Video Files: None
Comments: Use content of W3summary.txt as Sub-Heading
298 Story Boards Serial Number: 35 Slide Type: 1
Duration of Screen: 10 Slide Number: W4S1
Screen Shot:
VoiceOver Text: None
Slide Heading: Keyboard Techniques Slide Sub-Heading: Week 4 - Voice Leading Graphic Files: None Audio Files: Granados.wav Video Files: None
Comments: Sub-Heading appears after 5 seconds.
299 Story Boards Serial Number: 36 Slide Type: 2
Duration of Screen: 120 Slide Number: W4S2
Screen Shot:
VoiceOver Text: This weeks lesson is on voice leading. Voice leading refers to the way individual notes of a chords move to another chord. The individual notes of a chord are named ‘voices’. This is where the term ‘voice leading’ comes from. Chords I-V and I-IV share a note, as you can see in this example. When chords share a note it is referred to as a common tone. So in order to move chords smoothly and appropriately, you need to keep the common tones in the same ‘voice’.
Slide Heading: Voice Leading Slide Sub-Heading: One Note in Common Graphic Files: W4CTchords.jpg Audio Files: BeetSonata.wav Video Files: None
Comments: Show Sub-Heading with voiceover cue ‘commontone’.
300 Story Boards Serial Number: 37 Slide Type: 2
Duration of Screen: 45 Slide Number: W4S3
Screen Shot:
VoiceOver Text: Sometimes chords will have more than one common tone. As the example on screen shows, chords I-vi or I-iii share two common tones. As with one common tone, both common tones should be kept in the same ‘voice’.
Slide Heading: Voice Leading Slide Sub-Heading: Two notes in common Graphic Files: W4CTchords1.jpg Arrow1.jpg arrow2.jpg Audio Files: BeetSonata.wav (continued) Video Files: None
Comments: - Sub-Heading appears with voiceover cue ‘two common tones’. - Use arrow1.jpg and arrow2.jpg to point to common tones in W4CTchords1.jpg
301 Story Boards Serial Number: 38 Slide Type: 2
Duration of Screen: 60 Slide Number: W4S4
Screen Shot:
VoiceOver Text: Not all chords have common tones. This occurs when chords are parallel to each other. That means that they occur next to each other in the scale. When using parallel chords, remember that if the bass note moves up, all the notes above move down and if the bass note moves down, all the other notes move up. Be aware that in this example chords ii-IV have two notes in common across the bar line. We will now look at some examples from your worksheet at the piano.
Slide Heading: Voice Leading Slide Sub-Heading: No notes in common (parallel chords) Graphic Files: W4CTchords2.jpg arrow1.jpg Audio Files: BeetSonata.wav (continued) Video Files: None
Comments: - Sub-Heading appears after voiceover cue ‘parallel to each other’ - Use arrow1.jpg to point to common tones between chords ii and IV in example.
302 Story Boards Serial Number: 39 Slide Type:
Duration of Screen: 45 Slide Number: W4S5
Screen Shot:
VoiceOver Text: None
Slide Heading: Slide Sub-Heading: Graphic Files: None Audio Files: None Video Files: W4example.mov
Comments: None
303 Story Boards Serial Number: 40 Slide Type: 2
Duration of Screen: 60 Slide Number: W4S6
Screen Shot:
VoiceOver Text: In this weeks lesson, we learnt about voice leading; how to move smoothly from chord to chord. We also learnt about chords with common tones, and keeping the common tones in the same ‘voice’. Next weeks lesson is an assessment task that needs to be submitted via blackboard. If you need any help, please contact the email address listed at the bottom of your work sheet.
Slide Heading: Summary Slide Sub-Heading: W4summary.txt Graphic Files: None Audio Files: BeetSonata.wav Video Files: None
Comments: Use content of W4summary.txt as Sub-Heading.
304 Story Boards Serial Number: 41 Slide Type: 1
Duration of Screen: 10 Slide Number: W6S1
Screen Shot:
VoiceOver Text: None
Slide Heading: Keyboard Techniques Slide Sub-Heading: Week 6 - Tonic and Dominant Chords Graphic Files: None Audio Files: Granados.wav Video Files: None
Comments: Sub-Heading appears after 5 seconds
305 Story Boards Serial Number: 42 Slide Type: 2
Duration of Screen: 90 Slide Number: W6S2
Screen Shot:
VoiceOver Text: This weeks lesson will focus on the Tonic and Dominant chords. These two chords are what gives music a tonal centre. These two chords are used in music from the early baroque to modern pop music. The dominant chord can also have a seventh note added to it. This increases the sense of instability of the chord, so when it resolves, the tonal centre is reinforced.
Slide Heading: Tonic and Dominant chords Slide Sub-Heading: Graphic Files: W6chords.jpg Audio Files: Liszt.wav Video Files: None
Comments: Zoom in on graphic
306 Story Boards Serial Number: 43 Slide Type: 2
Duration of Screen: 90 Slide Number: W6S3
Screen Shot:
VoiceOver Text: When we label dominant seventh chords using figured bass, we use 7, 6/5 for first inversion, 4/3 for second inversion and 4/2 for third inversion. These numbers, as with the figured bass exercises we did earlier in the course, indicate the intervals above the lowest note. These can be confusing at first but try to memorise these numbers for their inversions.
Slide Heading: Tonic and Dominant chords Slide Sub-Heading: Graphic Files: W6DChords.jpg Audio Files: Liszt.wav (continued) Video Files: None
Comments: Zoom in on graphic when mentioned
307 Story Boards Serial Number: 44 Slide Type: 2
Duration of Screen: 30 Slide Number: W6S4
Screen Shot:
VoiceOver Text: Summarising, when you see a 7, it means a Dominant 7th in root position, 6/5 a Dominant 7th in first inversion, 4/3 a Dominant 7th in second inversion and 4/2 a Dominant seventh in third inversion.
Slide Heading: Tonic and Dominant chords Slide Sub-Heading: Graphic Files: W6DChords.jpg W6Chords1.jpg W6Chords2.jpg Audio Files: Liszt.wav (continued) Video Files: None
Comments: None
308 Story Boards Serial Number: 45 Slide Type: 2
Duration of Screen: 120 Slide Number: W6S5
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VoiceOver Text: The cadential 6/4 Is an elaboration of Dominant to Tonic Harmony. This is where we use a Tonic chord in second inversion and resolve it to a dominant chord in root position. The labeling on the screen indicates that it is a ‘V’ 6/4. This can be confusing, as it is understandable to think that a V 6/4 would be dominant chord in second inversion. It is only in this instance, when the V 6/4 move to V 5/3 that it actually means a I 6/4 moving to V 5/3. We will now look at an example from this weeks work sheet at the piano.
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VoiceOver Text: In summary, this lesson focussed on Tonic and Dominant harmony and how they are the most important chords in the Western Tonal tradition. This includes the dominant seventh chord, and all of its inversions and the cadential six four, where a Tonic chord in second inversion is used before a dominant chord for a smooth sounding progression. If you have any difficulties with this work, please contact me on the email listed below.
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VoiceOver Text: The Subdominant chord is a chord that is commonly used in tonal music. Chord four in a major key is a major chord and it is a minor chord in a minor key.
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VoiceOver Text: Chord four can be used in a variety of ways. It is most commonly used between the tonic and dominant chord in either root position of an inversion. It can also be used to form a plagal cadence or as a precursor to a cadential six four chord. When using chord four, be mindful of notes in common with other chords. It shares a note in common with the tonic chord. We will now look at some of this weeks work at the piano.
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VoiceOver Text: This weeks lesson focussed on the subdominant chord and how it is used with the tonic an dominant chords. It can be used to make a plagal cadence and is a major chord when used in a major key and a minor chord when used in a minor key. If you experience any difficulty with this weeks worksheet, please contact me on the email address listed on your worsksheet.
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316 Story Boards Serial Number: 53 Slide Type: 1
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VoiceOver Text: The Supertonic chord is another example of a chord that is used commonly between tonic and dominant chords. Chord two can have a seventh added to it as well, and similarly to dominant seventh chords, the seventh has to fall down in the next chord. Chord two is a minor chord in a major key and a diminished chord in a minor key.
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VoiceOver Text: Chord two is usually used before the dominant chord and can be used in root position and first inversion. This applies both with and without a seventh in the chord. Chords one to two ordinarily do not share a note in common, but if you use a seventh in chord two, these chords do share a note in common. We will now go to the piano and hear these examples.
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VoiceOver Text: In this weeks lesson we will look at harmonisation using chord two. If you look at your work sheet you can find the example on screen. Following the same layout, you are to harmonise the remainder of the example with the inclusion of chord two. Remember, the key you are in is G major. We will now look at this at the piano both with a simple and more complicated harmonisation.
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VoiceOver Text: In summary, chord two is a minor chord when used in a major key and a diminished chord when used in a minor key. It can be used with a seventh and in both root position or first inversion. And in addition to your chordal progression exercises this week, you will be required to harmonise the melody by Mozart using chord two. If you have any difficulties with this, please contact my email address.
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323 Story Boards Serial Number: 60 Slide Type: 1
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VoiceOver Text: The Sub-Mediant chord shares two notes with the tonic chord and the Sub-Dominant chord. This means it can move smoothly to or from either of these chords. Chord six is a minor chord in a major key and a major chord in a minor key. Chord six, when used after the dominant chord form an ‘interrupted’ cadence, and is commonly used to end musical phrases.
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VoiceOver Text: We will now go to the piano and listen to two very contrasting excerpts of music that use chord six. The first example is from the opening of Franz Schubert’s impromptu in G flat major and the second example is the chordal progression from the chorus of Rebecca Black’s song ‘Friday’. See if you can notice the harmonic similarity.
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VoiceOver Text: I would like to discuss improvising briefly. It may seem daunting to harmonise and improvise at a rate which you would be satisfied with. It is important to continually think harmonically and practice chordal progressions in different keys as this will help you to familiarise your how chords work together and as such, help you with the speed at which you improvise or harmonise. We are now going to go to the piano and look at a harmonisation for this week followed by a more complicated improvisation.
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329 Story Boards Serial Number: 66 Slide Type: 2
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VoiceOver Text: In summary, Chord six is a minor chord when used in a major key and a major chord when used in a minor key. It is used at cadential points to create interrupted cadences and it shares two notes in common with chords one and four. Remember that harmonising and improvising well takes continual practice and you should try to think of it as a fun, creative task rather than a cumbersome one. If you have any difficulties with this weeks work, please contact me on my email address at the bottom of your worksheet.
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330 Story Boards Serial Number: 67 Slide Type: 1
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331 Story Boards Serial Number: 68 Slide Type: 2
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VoiceOver Text: This is the final video of this online Keyboard techniques course. Next weeks lesson will be a revision week and the following week will be your final assessment. If you need any help with any of the work thus far please do not hesitate to contact me on my email address.
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VoiceOver Text: The Mediant chord is a minor chord when used in a major key and a major chord when used in a minor key. It is important to note that when using it in a minor key, the leading note is not raised. You keep the note true to the key signature.
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VoiceOver Text: Chord three is usually only used in root position because in an inversion it sounds similar to the tonic and dominant chord because it shares two notes with both chords. Chord three is commonly used between the tonic and dominant chords as well as between chords four and six.
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VoiceOver Text: We will now go to the piano and look at this weeks transposition exercise. You are to play this example on the screen that includes chord three. The original key of A major and you are to transpose it into the key of G major; down one tone. The chords being used in each bar are chords One, three, Five seven and finally back to chord one. Let us look at this at the piano.
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336 Story Boards Serial Number: 73 Slide Type: 2
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VoiceOver Text: Summarising this weeks work, chord three is a minor chord when used in a major key and a major chord when used in a minor key, but we do not raise the leading note. It is commonly used after chord one and usually only used in root position. Remember, as this is the last week of lessons, if you are experiencing any difficulties, or you would simply like to ensure that you understand anything covered in this course, please do not hesitate to contact me. Next weeks work will be revision to prepare you for the final assessment.
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337
338 Appendix E
Video Commentary Transcripts (Weeks 1-10)
Week 1
Slide Number (SN): W1S2
Hi everyone, as most of you already know most pieces of popular music and classical music prior to the 20th century have what is known as a tonal centre, or a key. This means the piece of music which follows a series of major and minor chords are related to this key. Understanding the relationship between the chords allows us to deconstruct a piece of music, to analyze it and view its basic chord structure and chord reduction. This understanding of the chord structure allows the student to learn a piece of music with a greater appreciation.
SN:W1S3
I like to think of this as the grammar of music. Now as you can see in the examples popping up on the side here, on your right of screen, this is what we call a chord reduction of the music represented on the left of screen. What this course will focus on is looking at these chord reductions and working with them and learning to understand how the chords work together. But we will look at that in more detail later on.
SN: W1S4
Try to think of this and learning a speech in a new language. If you want to learn a speech in a new language its going to be a lot easier for you if you understand
339 the grammar, rather than just learning it word by word and not understand the relationship between the words. We’ll now go to the piano and have a look at the first four bars of Bach’s prelude No .1 in C major followed by its chord reduction.
SN: W1S8
So this week we’re going to be focusing on playing major and minor chords but before we do this I thought it would be important to briefly go over some of the terminology we’ll be using throughout this course. I know a lot of you will be familiar with this already but just in case you’re not up to speed we’re going to quickly cover it anyway. Scale degrees are what we call the names of each individual note of a scale in any key and these apply to all major and minor scales.
The names are Tonic, Supertonic, Mediant, Subdominant, Dominant, Submediant and Leading note.
SN: W1S9
Now if we want to create a chord above any of these notes, we do so by adding a
3rd and a 5th above that note. So as you can see here, if we use a C and we put a
3rd above it and a 5th above it we get what we call a Tonic chord in Root position.
By root position I mean the root of the chord, in this example ‘C’, being the lowest sounding note that’s heard. But if we were to flip this ‘C’ that’s at the bottom here up the octave, leaving the ‘e’ to be the lowest sounding note of the chord, we call that a c major chord in first inversion. Likewise, if we flip this ‘e’ up the octave, like in this example here, leaving ‘g’ to be the lowest sounding pitch of the chord, we call it a c major chord in 2nd inversion.
340 SN: W1S10
Another way of look at this is what I like to call pop chord style or ‘letter names’.
What I mean by this is the letter ‘c’ here, for example, means that the chord is a C major chord, but over here, the C slash E, the C still means a C major chord but the slash e means that the e is the lowest sounding note of the chord. Likewise, over here, C, again, means a c major chord but the slash G means that the G is the lowest note of the chord. So your first task for this week is to be able to play all major and minor chord in all of their inversions. We’ll now go to the piano and have a look what at what I mean by this.
SN: W1S12
Right, just recapping this week’s lesson, we’ve learnt that most music that has a tonal centre i.e. a major or minor key can be reduced to a simple chord structure.
We’ve learnt about scale degree names, which are the Tonic, Supertonic, Mediant,
Subdominant, Dominant, Submediant and leading note. We’ve learnt about chords in Root position, first inversion and second inversion and how we can represent these chords using letter names or pop style chords. And finally, the main exercise for this week is learning how to plat at the piano all major and minor chords in all of their inversions fluently. Remember, if you have any difficulty understanding anything that’s been presented in this week’s class, please don’t hesitate to contact me on my email address that’s listed at the bottom of your worksheet.
341 Week 2
SN: W2S2
Hi everyone and welcome to week 2 of the online keyboard techniques course.
This week we are going to follow up, and do a little bit more work, on chords and their inversions, like last week, but this week we will focus on treble position. By treble position a shorthand way of representing a chord in root position, first inversion and second inversion. Think of it as a little shortcut; a simplified way of writing a chord.
SN: W2S3
The ‘5’ down here with the little carat top above it, means that it is a c major chord in root position, the c here with a 1 on it means that it’s a c major chord in
1st inversion and the e with the 3 on top of it means that it is a c major chord in
2nd inversion. These numbers tell us, 5,1 and 3, is that the note we see here in the treble clef is the 5th note of the chord. Likewise, the C here is the 1st note of the chord and the ‘e’ is the 3rd note of the chord. We construct the chord that this correlates to directly underneath it. So keeping this in mind, if we have the same note but different numbers above it, meaning different treble position, we will get completely different chords. So here, the ‘e’ with the 1 above it, we get an e minor chord in first inversion but if we have an e with a 3 above it we’ll get a C major chord in second inversion and if we have an ‘e’ with a 5 above it we’ll get an a minor chord in root position.
342 So we can summarise by saying that ^1 is equal to a 1st inversion chord, ^3 is equal to a 2nd inversion chord and ^5 is equal to a root position chord. Lets go to the piano now and have a look at some of the examples that are listed in your lesson notes for this week.
SN: W2S6
Figured bass is similar to treble position in that we use it as a way to represent chords and their inversions, but unlike treble position, we use figured bass to think from bottom to top rather than top to bottom. The root position, first inversion and second inversion chords consist of two intervals. In a root position c major chord, like in this example here, we have two intervals; a 5th and a 3rd. In first inversion an interval of a 6th and a 3rd and in second inversion, an interval of a 6th and a 4th. What this means is that we can use these intervals as shorthand to represent that chord in its particular inversion. Therefore 5/3 on a c is a c major chord in root position, 6/3 on an ‘e’ is a c major chord in first inversion and the 6/4 of g is a c major chord in second inversion.
SN: W2S7
Similarly to treble position, if we have the same note, but with different figuring’s underneath it, we’ll get completely different chords. A ‘C’ with a 5/3 underneath is still a c major chord in root position, but a C with a 6/3 underneath it is an a minor chord in first inversion. Finally, a c with a 6/4 underneath it is an F major chord in second inversion. So quickly recapping, 5/3 equals root position, 6/3 equals first inversion and 6/4 equals second inversion.
343 Now let’s go to the piano and have a quick look at some of the examples that are on your work sheet.
SN: W2S9
Treble position indicates what the right hand plays, but does not indicate the overall inversion of a chord when playing with 2 hands at the piano. This is done by figured bass. Figured bass determines the overall position of a chord, regardless of what’s indicated in treble position. For example, if you’re playing a c major chord in first inversion in the right hand, but the left hand is playing a c, the overall chord position is root position, even though the right hand is still in first inversion.
SN: W2S10
So, quickly summing up this week’s lesson, we’ve learned that treble position is used as shorthand to represent a chord in a particular inversion from top to bottom. Similarly, we’ve learned that figured bass is used as shorthand to represent a chord in a particular inversion from bottom to top. We’ve learned that treble position in only used to represent a chord in its inversion in the right hand. Figured bass is used to represent the overall chord in its overall inversion.
Your exercise this week is playing treble position and figured bass chords at the piano as well as identifying and labeling chords in treble position and figured bass.
Remember, if you have any difficulty with any task this week, please do not hesitate to email me on my email address located at the bottom of the work sheet.
344 Week 3
SN: W3S2
Hello everyone, and welcome to this, week 3, of your online keyboard techniques course. This week we’re going to focus a little bit more on chord labelling. As you can see on your screen here we have a c major scale and if you remember the work we did in week 1, in order to construct a chord above any of these notes we need to add a 3rd and a 5th note above that note to get the chord. So if we do that on top of every note of a c major scale, for example, we get all these chords that have varying tonalities and we can express these tonalities by using letter names.
By using letter names, it means that when we have a capital letter, like this letter
‘C’ you get a major chord. When you get a lower case letter with a ‘m’ after it you get a minor chord, this can be expressed as a c’min’ where min equals minor. And finally, when you see a dim after the letter we get a diminished chord but don’t worry about that for this course as we will only be dealing with major and minor chords.
SN: W3S3
So if we look at the music here in this example, we can represent it with letter names like so. This chord here is a C for C major, this one here is an a minor on a c, this one is an F major chord on a c left hand note and this one is a B flat major chord on a C.
345 SN: W3S4
Another way we can represent chords is by roman numerals. Again, if you look at this C major scale here and construct chords above all of the notes, you can label those with roman numerals, as follows. Similar to letter names, the capital letters indicate major chords and the lower case letter indicate minor chords. Again this circle here means diminished chords but you don’t have to worry about that for this course. So summing up, when you see a I it indicates a tonic chord, ii, the supertonic chord, iii the mediant chord, all the scale degree names that we looked at in the first week. Lets go to the piano now have a quick look at some of the examples in your lesson notes. We’ll first hear a C major scale being played and then we’ll hear all the triads built above every note of that scale played. See if you can hear the difference between the major chords and the minor chords.
Now let’s look at example 3, first played as letter names, then as Roman numerals.
SN: W3S8
Transposition is where we change the key, or the tonal centre, of a piece of music.
The reason we do this is because, from time to time, we get pieces of music that are just slightly out of the range of a singer or an instrumentalist and by changing the key we can put it in a range that’s far more comfortable for them. Now if you’re new to transposition, a very simple way to get you started is by is by labelling a melody by its scale degree numbers. If you look on your screen here we have a c major scale with its scale degree numbers. So if we get a melody like the one coming up on screen now, what we do is we label those notes relative to c major by their scale degree numbers. So, of course, this C here would be the
346 first scale degree, the B here would be the 7th scale degree in C major and so on.
So if I want to change this melody here into B flat major, I write out the scale degree numbers again, like above, but this time write what those scale degree notes would be in B flat major. The first scale degree here would be a B flat, the
7th scale degree of B flat major is an A and so on, and this is a very effective way of transposing a melody; by writing its scale degree numbers above it relative to the key you are in. Let’s listen to these examples now at the piano. First in C major, then in B flat major. When transposing choral progressions, we take a very similar approach to transposing melodies but we have to take into consideration the entire chord. Now if we take this progression here in C major labelled as I, ii, V and I (I have also included their letter names, you have to think
‘alright, well what would a chord I be you wouldn’t to move to B flat major’?
SN: W3S10
If you look at the right hand chord here, we have a C major chord in first inversion and in chord ii here you have d minor chord in root position. Now we have to think to ourselves, if we are going to B flat major, we would have to include a B flat major chord in first inversion in the right hand followed by a c minor chord, which would be chord ii in root position. It would end up looking like this. So when transposing a chord progression its very important to keep the voicing the same in the original key into the new key and not just change it around. Let’s go to the piano now and have a quick little sneak peak and question
3 on this week’s work sheet. I’ll play the progression for you first in c major and then I’ll play just the first 2 chords transposed into d major – you’ll have to figure out the last two yourselves.
347 SN: W3S12
So summing up this week we’ve learned that chord labelling involves using letter name chords, also known as pop chords as well as roman numerals. We’ve learnt that roman numerals indicate chord that are built above a particular scale degree and when using capital letters, such as I it indicates a major chord and lower case letter such as the little i’s indicate minor chords. We’ve learnt that transposing a melody is easily done when we label the original melody by its scale degree numbers and the re writing those scale degree numbers in the key that you want to go to. Finally, we’ve learnt that labelling chords with roman numerals is a very effective way to help us transpose a chord progression. So a ‘key’ understanding of your key signatures is very handy here as its very easy to make mistakes if you’re not familiar with the key signature of the key you are going to. So you might want to practice up on them if you’re not too familiar with them. As with every week, if you have any difficult with any of the questions on the worksheet, please don’t hesitate to email on my email address that’s located at the bottom of the work sheet.
Week 4
SN: W4S2
Hello again everyone, and welcome to this, week 4 of your online keyboard techniques course. This week we’re going to look at voice leading. Now with voice leading, I don’t mean anything, whatsoever, to do with the human voice, I mean individual notes of the chord, which we call voices, and how they move onto other notes of other chords. So if you look at this example here on your screen, we have chord V to chord I in c major. If we think about the notes of these
348 chords, we have chord V being G, B, D because it is a G major chord, a chord I being C, E, G because it is a c major chord, we have this one note in common here, the ‘G’. So when we have chords like these, we call them chords that have 1 note in common. So to move smoothly from chord V to chord I, we usually keep this voice, this note ‘g’ in the same part and we move the outer parts around it.
Likewise here we have chord IV to chord I. The notes of chord IV are F, A, C and the notes of chord I are C, E, G which means they both share a ‘C’, in common. So with examples like this, the two examples on screen, tell us that when we have one note in common we keep that part in the same ‘voice’ and move the other part around it for optimal smooth sounds in your transitions between chords.
SN: W4S3
Sometime though, we don’t just have one note in common, but two notes. Like the examples coming up on screen. If you look here at the first example, we have chord I going to chord Vi, which of course is a C major chord moving to an a minor chord. We have the ‘C’ and the ‘E’ here in common between both chords, so we keep them in the same part and move this ‘G” up to the ‘A’. Also here is an example of chord I to chord iii. We have the ‘e’ and the ‘g’ here in the c major chord and they stay, across here, in the e minor chord iii, with just the top not moving down.
SN: W4S4
Finally for this week, sometimes they are no common notes between chords. So if you look at your example here on screen, we have chords I to ii, and they share no notes in common. Chords that don’t share any notes in common we usually
349 call parallel chords, because that’s often where they occur. The general rule is, in these examples, that if the bass line goes up, all the notes above it fall down to the next chord like so. If the bass line goes down, all the notes in the chord above it go up, in the opposite direction. Likewise here, we have chords Iv to chord V, in
C major, they share no notes in common, the bass line has gone up, so all the notes above fall down to form the g major chord here, in this example. But be wary, if you look closely, going between chord ii and chord IV, they actually share two notes in common, with just the ‘D’ moving down to the ‘C’ here, so be sure to keep them in the same voice. Now let’s go to the piano and have a quick look at one of the chord progression examples I’ve given you in this week’s work sheet.
SN: W4S6
Alright just summing up for this week everyone, we’ve learned that voice leading is a reference to the individual notes of a chord and how they move on to one another. We’ve learned that when we move from one chord to another we look for a common tone, and we keep it in the same part of the chord and in the instances where there are no notes in common, we move the notes in the right hand in contrary motion to the left hand. Remember if you have any difficulty whatsoever with any of the examples in the worksheet, please do not hesitate to contact me on my email address. Also remember that next week is an assessment week, so there will be no video, you just take the worksheet and record what’s required on that worksheet and upload the video or audio file onto Blackboard.
Good luck and again, if you need any help with that or confused about any issue, please contact me on my email address which is listed at the bottom of the work sheet.
350 Week 6
SN: W6S2
Hello everyone and welcome to this, week 6 of your online keyboard techniques course. I hope the week 5 assessment task didn’t cause you too much trouble, and you’re ready to learn a little bit more about chords and how they function. So from week 6 to week 10 we’re going to be focusing on chords and how they relate to each other and we’re going to start out by learning about the tonic and dominant chords and how they work together. Now in most music, classical music and pop music, you’ll find that the harmony that give the piece of music a sense of key are the tonic and dominant chords. When we use a dominant chord, it creates a sense of instability, and when we use a tonic chord straight afterwards, it gives a sense of resolution. Now as you can see on the example on your screen here, we still have chord I to V and V to I and you have done examples of this in your voice leading unit, but now were going to focus on an additional chord which is V7 or the dominant seventh chord, which is exactly the same as chord V but we add an extra note; a seventh above the bass note of the chord. In this example here the bass note is G and so a seventh above that would be F. What this seventh does is intensifies the sense of instability and helps create a better sense of resolution when we go to chord I afterwards.
SN: W6S3
So when using V7, we use it in all of its inversions: root position, first inversion, second inversion and third inversion. As you can see here on your screen, we give them special figuring names, or numbers. V7 means that it’s a seventh chord
351 in root position, V6/5 means it’s a seventh chord in first inversion, V4/3 means it’s a seventh chord in second inversion, and V4/2 means it’s a seventh chord in third inversion. I understand that these numbers sound very confusing at first, and can take a little while to get used to, but bear with it, these are the technical terms we use to describe these chords and their inversions.
SN: W6S4
Each of these chords resolves in a particular way. V7 usually resolves to chord I , although sometimes it can go up to chord Vi. V6/5 99% of the time goes to chord
I, Chord V 4/3 can go to either chord I or I6 (that’s chord I in first inversion) and chord V4/2 always goes to chord I6. Now again, I understand that it is a little confusing to have all these numbers and letters thrown at you, but just try and bear with it for now. 7 equals V7 in root position, 6/5 means V7 in first inversion,
4/3 means V7 in second inversion and 4/2 means V7 in third inversion.
SN: W6S5
And finally this week we’re going to look at what we call the cadential 6/4. The cadential 6/4 is just an elaboration of dominant harmony. What we do is use chord I in second inversion and then immediately we chord V in root position before going to chord I. You may have noticed in the labeling here, we call it V
6/4 to 5/3 . The reason we call it V6/4 (instead of I6/4) is because we use it just before chord V to I. So even though its chord I in second inversion, we call it V
6/4 to 5/3 because of the way the notes move. If you look above the G here, we’ve got the 6th note being an ‘e’ and the fourth note being the ‘c’ and they both fall down, to the 5th and the 3rd, which is indicated here, forming chord V. So , its
352 sort of an extension, or suspension, in to chord V. So that’s why we call it V 6/4 to
5/3 rather than I 6/4 to V 5/3. But when playing on the piano, all you need to do is think of chord I in second inversion going to chord V in root position., to chord
I. Likewise over here, this is just another example, when we use chord I in second inversion, we can go to chord V7 and the reason we have the extra number here is that the 8 above g here, which is another g (an octave) and it falls down to the seventh above G, likewise, again, the 6th being the e falls to the 5th and the c being the fourth falls to the 3rd. So that’s what all these numbers down here mean. One of the exercises we’ll be looking at in your worksheet this week includes a little bit of improvising using tonic and dominant chords. We’re going to go to the piano now and have a look at the last question on your worksheet. It’s by Haydn and it is the first 8 bars of his piece named Quadrille. I’m going to play the original first and then I’m going to improvise a little melody over the given left hand part. Your job for this week is to come up with your own melody over the same left hand part.
SN: W6S7
Alright just summing up, we’ve learned that the tonic and dominant chords are the most important chords in classic and pop music as they used to establish a clear sense of key or tonal centre. We’ve learned about chord V7, which is where we add a 7th to chord V, and its inversions and how to resolve them appropriately to chord I. We’ve also learned about the cadential 6/4, which is just chord I in second inversion used immediately before chord V in root position.
353 Now as usual, if you have any difficulty understanding anything in your worksheet for this week, please do not hesitate to contact me on my email address listed at the bottom of the worksheet.
Week 7
SN: W7S2
Hello everyone, welcome back, this is now week 7 of our online keyboard techniques course. This week we’re going to have a look at the sub dominant chord, which is chord IV. The Subdominant chord is used almost as commonly as the tonic and dominant chord in tonal music. When you’re in a major key like in this example here, chord IV is a major chord and when you’re in a minor key, like in this example here, chord IV is a minor chord.
SN: W7S3
There are many ways we can use chord IV in a chord progression. We can use it in root position, or we can use it in first inversion like in this example here. It’s most commonly used in between chord I and chord V, but we can use it to go back and forth from chord I. We call this a plagal cadence when we do. It’s important to note that between chord IV and chord I there is a note in common, the ‘c’ here, but remember when we’re going from chord IV to chord V; they’re parallel chords, so just remember to make sure all the notes above fall down when moving between them. We’re going to go to the piano now and have a quick look at some of the examples on your work sheet, starting with question one. I’ll play it for you in the original key and I’ll play most of it in the first key I want you to transpose it to, and then we’ll have a quick look at question two.
354
SN: W7S5
So just summing up for this week, the sub dominant chord is most commonly used between chords I and V (or V7). It is sometimes used as a plagal cadence, which is where we go from chord IV to chord I, usually at the end of a phrase.
We’ve also leant that the subdominant chord is a major chord when we use it in a major key and a minor chord when we use it in a minor key. Remember, if you need any help with anything that was covered in this week’s lesson, please do not hesitate to email me on my email address that is located at the bottom of the work sheet.
Week 8
SN: W8S2
Hello everyone and welcome back to week 8 of your online keyboard techniques course. This week we’re going to continue our work on diatonic chords and we’re going to look at the supertonic chords, which is chord ii. Chord ii cn also have a seventh added like in this example here, where you have dfa, in c major, which is chord ii, and if we add the seventh we get a ‘c’. When you’re in a major key, like in this example here, C major, chord ii is a minor chord and when you’re in a minor chord, like in this example here, c minor, you get a diminished chord.
This means that the top note, instead of being an a natural, like in c major, you get an a flat and that’s because of the key signature having an a flat in it.
355 SN: W8S3
There are a number of ways we can use chord ii. We can use it in root position, like in this example here. Chord I, ii to V. We can also use it in first inversion, I, ii6/3 to V. Ordinarily, chord I – ii does not have a note in common, they’re parallel chords, so when we move up ion the bass part all those above fall down, but when we use I – ii7 or I – ii6/5, i.e. chord ii7 in first inversion, we do have a note in common, the ‘c’ here. So remember to keep that part in the same voice to get a smooth transition. Let’s go to the piano now and have a listen to these examples played. See if you can hear the difference between chord ii with a seventh and chord ii without a seventh.
SN: W8S5
So finally for this week, we’re going to have a look at this little melody here by
Mozart. This is found on your lesson note sheet, not your work sheet. What I’ve done is harmonise the melody in the right hand with some block chords in the left hand using chord I – V7 – V7 – I. Your task is to harmonise the rest of the melody making sure you use the supertonic chord, in this bar here. Remember that the key you are in is G major. We’ll now go to the piano and have a quick look at this harmonisation in the form that I first want you to do it in, with black chord in the left hand and then we’ll have a quick look at a way you could possibly be creative with your accompaniment if you wish to. You don’t have to do it like this, but if you want to give it a shot and have a bit of fun with it…………….we’ll see how it goes.
356 SN: W8S7
Alright, just summing up this week’s lesson, we’ve learned that chord ii is a minor chord when we use it in a major key and a diminished chord when we use it in a minor key. And that just means that the top note of the chord is flattened because of the key signature. We’ve learned that chord ii can be used with a seventh and both chord ii and ii7 can be used in root position and first inversion when using them in a chord progression. And other than your chord progression exercises for this week, you’ll also be harmonizing the melody that is located in your lesson notes, ensuring that in this harmonisation you use the supertonic chord. As always, if you have any difficulty with anything that’s been covered in this week’s class, please do not hesitate to contact on my email address that’s located at the bottom of the worksheet.
Week 9
SN: W9S2
Hello everyone and welcome to week 9 of your online keyboard techniques course. This week we’re going to have a look at the Submediant chord, which is, chord vi. The Submediant chord is a minor chord when we use it in a major key and a major chord when we use it in a minor key. Chord vi, as we’ve discussed in some of the earlier weeks, shares two notes in common with chord I. So bear that in mind when going from chord I to chord vi. Chord vi is usually used straight after chord I but occasionally we use it straight after chord V. When we do this, we call it an interrupted cadence. Be aware though that when you use chord V to chord vi, because they’re parallel chords, when the bass note goes up, the rest of the chord in the right hand falls down.
357
SN: W9S3
We’re going to listen to some music now that uses the submediant chord. The first piece is impromptu in G flat major by Franz Schubert performed by Vladimir
Horowitz live, in Vienna. I’ve included the YouTube link here if you wish to watch the piece is its entirety. The very start of the piece uses the chord progression I, iv, ii6, V7. We’re then going to listen to something completely different. We’re going to listen to Rebecca Blacks ‘Friday’ or, the chorus from her single ‘Friday’, which uses the chord I vi IV V. Now although these pieces are completely different in their style, they both use very similar chord progressions. See if you can hear the use of chord vi in both of these pieces.
SN: W9S5
Finally for this week everyone, I’d just like to briefly discuss improvising and harmonisation. Now whether you improvising a melody over a given bass line or chord progression, or whether you’re harmonizing a melody, the most important thing is to be thinking about the notes of the chords you wish to harmonise or improvise over. If you’re constantly thinking harmonically, you’ll soon notice that the speed you harmonise and improvise will increase and you’ll get a lot more enjoyment out of the creative process of improvising and harmonisation.
We’re now going to go to the piano and have a look at the harmonisation question in your worksheet for this week. I’ll start out by just playing the melody, then I’ll play a harmonisation that I want you to do, and then I’ll play a harmonisation that gets a little bit more creative with the harmonies, and starts
358 using chords that we’re not covering in this course. This is just to give you an idea of what can be done with harmonisation.
SN: W9S7
Ok, summing up for this week, we’ve learned that chord vi is a minor chord when we use it in a major key and a major chord when we use it in a minor key. We’ve learnt that chord vi has two notes in common with chord I and we’ve learnt that if we use chords vi after chord V at a cadential point (a cadential point is what we call the end of a musical phrase, where it tends to breath), we call it an interrupted cadence. We’ve also mentioned that harmonizing and improvising melodies requires you to think of what notes of the chords you wish to use or that are being used. The more often you do this, the easier it will get. As usual, if you have any difficulty understanding anything that is on your work sheet for this week, please do not hesitate to contact me on my email address that is located at the bottom of the work sheet.
Week 10
SN: W10S2
Hello everyone and welcome to week 10 of your online keyboard techniques course. This is our final week of learning material, so there will be no more videos after this week. Week 11 will be a revision week and then week 12, our final week of the course will be the final assessment for everything that’s been covered in the course thus far. Now if you had difficulty with anything in this course so far and you still haven’t contacted me and want clarification, please do
359 not hesitate to contact me on my email address that’s located at the bottom of the work sheet.
SN: W10S3
Right, on to this week’s lesson and this week we’re focusing on the mediant chord, which is chord iii. The mediant chord is a minor chord when we use it in a major key and a major chord when we use it in a minor key. Now it’s important to note that when we use it in a minor key, we don’t raise the leading note. If you look here in chord III we have e(flat) g and b(flat) the b here would be a ‘b’ natural but we don’t raise it when we use it in chord iii and that makes it a major chord, so in this example here we keep this ‘b’ and a b flat.
SN: W10S4
Chord iii is usually only used in root position; we tend not to use it in first or second inversion because when we use it in an inversion, it tends to sound a little too much like the dominant chord because it shares two notes in common with the dominant. Chord iii can be used anywhere between chord I and chord V. It is commonly heard after chord vi or before chord vi and it is often heard in between chord I and chord V. Another important thing to realise about chord iii is that has two notes in common with both the tonic and the dominant, so when using chord iii in a chord progression, just be aware of that.
SN: W10S5
We’re just going to go to the piano now and have a look at this week’s transposition exercise. I want you to play this example here on the screen in the
360 original key of a major, and then I want you to transpose every note down one tone, into g major. The chord progression being used here in this example is chord I to chord iii in this bar, V7 in this bar and then back to chord I in the last bar.
SN: W10S7
Alright everyone, just summing up this final this final week of work here in the course, we’ve learnt that chord iii in a minor chord when we use it in a major key and a major chord when we use it in a minor key. The reason it is a major chord when we use it in a minor key is because we don’t raise the leading note in chord
III. Chord iii is usually used after chord I or chord Vi and is rarely used in any inversion; only root position. And your transposing exercise for this week is found in your work sheet. You’re to play the example in the original key of A major then transpose down one tone into G major.
As usual, if you’ve had any difficulty understanding anything that’s been presented in this week’s class, please do not hesitate to contact me on my email address that’s located at the bottom of the work sheet. Don’t forget also that next week is a revision week, there is no lesson video and the week after that is the final assessment task for the course. So you need to organize a Skype session time by emailing me your preferred times, when you’re ready to do the test, and we’ll go from there. So don’t forget, this is important to remember, you need to contact me by email when you’re ready, in order to perform the final test.
361 Appendix F
Course Content: Weeks 1-12 Lesson Notes and Work Sheets
Online Keyboard Techniques Course
Week 1 - Chords Lesson Notes
1. The Scale Degrees - Try to memorise these œ œ names as they are terms & œ œ Tonicœ Supertonicœ Mediantœ Subdominant Dominant Submediant Leadingnote we will be using throughout the course.
2. A C major Tonic chord in Root Position is built with the 3rd and 5th degrees of the scale & œ Œ w above it. œ 1st œ 3rd 5th wTonic Chord in Root Position.
3. An inversion of a chord is where the bottom of the Root position chord ais placed an octave higher. This can be done twice with chords that only have 3 notes (triads) as in this example. w w The definition of an inversion of a chord, & w w w however, is dependant on the lowest sounding w note.
4. Pop chords are chords that are labeled by their letter name. The letter 'C' for example ˙ ˙ ˙ ˙ means a c major chord. The letter 'Cm' means a & ˙ b˙ ˙ b˙ c minor chord. To change its inversion, we add a slash followed by the name of the note we want in the bass part. A 'c' major chord in first inversion, for exmple would be written as 'C/E' ? or a cminor chord written in first inversion ˙ ˙ ˙ b˙ would be written as 'cm/eb'. Remember, with pop chord labeling, it does not matter what C cm C/E cm/eb order the notes in the right hand are provided C major c minor C major c minor that the lowest note is, usually in the left hand, Root Position Root Position 1st Inversion 1st inversion is the same as the letter of the chord (or the letter after the slash when using inversions).
362 Online Keyboard Techniques Course Week 1 - Chords Work Sheet
1. Play the following œ œ exercise, hands together, in œ œ œ œ œ b b œ œ œ œ œ all Major keys. The first 2 & œ œ œ œ œ ˙ b b b œ œ œ œ œ ˙ keys are displayed for you. œ œ œ ˙ œ ˙ This exercise may take several weeks to learn. œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ ˙ b œ œ œ œ œ ˙ œ ˙ b bbb œ ˙
2. Play the following œ # œ exercise, hands b œ œ œ œ œ n ## # œ œ œ œ œ together, in all Minor & b b œ œ œ œ œ ˙ n n œ œ œ œ œ ˙ keys. The first 2 keys œ œ œ ˙ œ œ œ ˙ are displayed for you. This exercise may take œ œ œ œ œ œ several weeks to learn. ? œ œ œ œ œ œ ˙ # # œ œ œ œ œ œ ˙ bbb œ œ œ ˙ nnn # # œ œ œ ˙
3. Play then label the following chords by their letter name (Pop ˙ ˙ Chord style). & ˙ ˙ ˙ #˙ b˙ ˙ ˙ b˙ ˙ #˙ ˙ ˙ b ˙ ˙ ˙ b ˙ ˙ ## ˙
? ˙ ˙ b˙ ˙ ˙ ˙ ˙ #˙ #˙ ˙
4. Construct and play the following chords labeled ? with their letter name (Pop Chord Style). Use D fm Db/Ab G/B Bbm E/G# F#m/A C one note in the left hand and the rest of the chord in the right hand.
Remember, if you have any difficulty with any of these tasks, please do not hesitate to email me at - [email protected]
363 Online Keyboard Techniques Course Week 2 - Treble and Bass Position Lesson Notes
1. Treble position is a useful way to familiarise yourself with playing chords in the right hand w w in a particular inversion without the need to & w w w write out all the notes of the chord. Always be w mindful of the key signature. ^ ^ ^ 5 1 3 The '^' symbol with the number underneath it is used to indicate the note of the chord you are w w playing (the 3rd, 5th or 1st (written as 8th). & w You always construct the chord directly underneath the given note. ^ ^ ^ 1 3 5 2. A single pitch, in this example 'E' can have different chordal notes above it and this will w w w give you a different chord each time. These w w w numbers will always mean the same inversion & w w from whatever the given note is: e minor C major a minor 1 = 1st inversion 1st inversion 2nd inversion Root position 3 = 2nd inversion 5 = root position 3. Bass position, most commonly referred to as w w 'Figured Bass' requires you to think bottom to ? w w w top, rather than top to bottom as in treble w w position. a 5th and a 6th and a 6th and a 3rd above C a 3rd above E a 4th above G
Figured bass uses numbers to indicate the interval (distance) of the other notes above the w bass note as you can see in this example. ? w w 5 6 6 3 3 4
4. Similar to Treble position, a single pitch, in this example 'C', can have different figurings underneath it and you will get a different chord each time. These numbers will always mean ? w w w the same inversion from whatever the bass w w w note is: 5/3 = root position 6/3 = 1st inversion 5 6 6 6/4 = 2nd inversion 3 3 4 C major a minor F major root position 1st inversion 2nd inversion
364 Online Keyboard Techniques Course Week 2 - Treble and Bass Position Work Sheet
^ ^ ^ ^ ^ ^ ^ ^ 3 3 1 5 1 5 3 3 1. Play the following chords labeled in Treble w w position. The first 4 chords & w #w bw w w are minor chords and the #w last four chords are major chords.
2. Play and label the following chords in bw b bw Treble position. & #w w #w w bbw b w w w w w # w w w w
3. Play the following chords labeled in Bass ? w position (Figured Bass) w bw bw w #w w in the left hand. The first 5 6 6 w 5 6 6 6 5 four chords are minor 3 3 3 3 4 4 3 3 chords and the last four chords are major chords.
4. Play and label the w following chords in & w w w w bw n#w #w w Bass position (Figured w w w w w w # w w Bass).
? w w w w w bw #w w
Remember, if you have any difficulty with any of these tasks, please do not hesitate to email me at - [email protected]
365 Online Keyboard Techniques Course
Week 3 - Chord labeling and Transposition Lesson Notes
1. Diatonic refers to the scale we are using (either major or minor in w w this case). Chords can be built on & w w w w top of these notes of the scale and w w we refer to them as diatonic chords. w w w & w w w w w w w w w w w w w
2. Roman Numerals are used to indicate what diatonic chord is w w being used. Upper case indicate w w w w w w w major chords and lower case & w w w w w o indicate minor (or dimished in wI wii iii IV V vi vii I the case of a circle next to the chord such as in chord vii.
3. If we wanted to play the chords C major, d minor and G major, for w w w w w w example, we would label them as & w w w w w w w w I, ii and V respectively. w w w w
? w w w w wC dm G w C w I ii V w I
C major:1 7 6 3 4 6 5 1 4. A simple way to transpose a melody is to label each note by its scale degree and then simply writing what & w w w w w note that scale degree would w w w be in the new key.
Bb major: 1 7 6 3 4 6 5 1 Here is the melody in Bflat major - Remember to pay bb w attention to the key & w w w w w signature. w w
366 Online Keyboard Techniques Course
Week 3 - Chord Labeling and Transposition Work Sheet
1. Play and label the # following chords using 4 œ œ œ œ œ Roman Numerals to & 4 œ œ œ œ œ œ œ œ indicate their scale œ œ œ œ œ degree. Make a note of what key you are in. ? # 4 œ œ œ 4 œ œ œ œ œ
2. Play the following chords labeled using ? 4 Roman Numerals in b 4 the same format as iii V I ii IV vi V I Question 1.
3. Transpose and play the following chords 4 in C major into D & 4 ˙ ˙ ˙ ˙ major. ˙ ˙ ˙ ˙
˙ ? 4 ˙ ˙ ˙ I IV V I
4. Transpose this melody into Bflat 4 œ Major & 4 œ œ œ œ œ œ œ œ œ
b & b 4
Please note that if you have not mastered your chord exercise from Week 1, you should continue to practice it as it will be required for your week 5 assessment task. For help, contact me at [email protected]
367 Online Keyboard Techniques Course Week 4 - Voice Leading Lesson Notes
1. The term voice leading refers to how notes move from one chord to another. To ensure 4 ˙ ˙ ˙ ˙ chords flow together smoothly, we look for & 4 ˙ ˙ ˙ ˙ notes in common between the chords ˙ immediately next to each other. Between Chords V and I for example, there is always a common note i.e. the 5th degree of the scale. If ˙ we look at chords IV to I we also find a ? 4 ˙ ˙ ˙ common note, which is the first degree of the 4 scale. V I IV I
2. Sometimes chords have 2 notes in common. Chords I to vi, or I to iii, for example, share both the 1st and 3rd, or the 3rd and 5th degrees 4 of the scale respectively. So for the smoothest & 4 ˙ ˙ ˙ ˙ transition between the chords, we keep those ˙ ˙ ˙ ˙ notes in the same voice, i.e. we dont move them. ? 4 4 ˙ ˙ ˙ ˙ I vi I iii
3. When using chords that have no notes in common, such as chord I to chord ii or chord 4 ˙ ˙ ˙ IV to chord V, the general rule is if the bass & 4 ˙ ˙ ˙ ˙ part moves up, all other parts move down and ˙ ˙ if the bass part moves down all other parts move up - the bass note and the rest of the chord move in contrary motion. In this ˙ example, while I-ii and IV-V are next to each ? 4 ˙ ˙ ˙ other, ii-IV have two notes in common, so for 4 the smoothest transition, keeping those I ii IV V common notes in the same voice will be best.
368 Online Keyboard Techniques Course
Week 4 - Voice Leading Work Sheet
1. Play the first chordal progression in G, D and A major and the second chordal 4 œ œ ˙ b œ œ ˙ progression in G,D and A minor. Ensure that & 4 œ œ ˙ b b œ œ ˙ the correct voice leading is used.
? 4 b 4 Iœ Vœ ˙I b b œ i œ VI ˙ i 2. Play and try to memorise the following chordal exercise. Note that each chord change only moves one note in the right hand and passes through all 24 keys.
œ œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ œ bœ œ b bœ bœ# #œ #œ #œ #œ œ #œ #œ œ œ œ . & œ œ œ œ bœ œ œ œ b œ œ œ bœ b œ œ n œ œ œ .
œ œ bœ œ bœ bœ ? œ œ bœ œ œ bœ bœ œ #œ œ . bœ œ #œ œ #œ œ œ œ
3. Create your own chordal progression that uses the given chords and then tranpose it to 3 different keys ensuring that the voice 4 ! ! leading remains the same in the new & 4 key. Remember to find the notes in common. If it helps, write it down. ? 4 I ii V I
Remember, if you have any difficulty with any of these tasks, please do not hesitate to email me at - [email protected]
369 Online Keyboard Techniques Course Week 5 - Assessment Task Assessment Questions
All the following questions are to be recorded œ with video or audio or played live via skype 4 œ œ œ œ œ & 4 œ œ œ œ œ ˙ 1. Play the following chordal exercise from œ ˙ week 1 - Play C, Dflat, D, Eflat, E, F, F# and G major fluently. œ œ œ œ œ œ œ œ œ ˙ ? 4 œ œ œ ˙
^ ^ ^ 3 8 5 2. Play the following chords labeled in pop chord, figured bass (bass position) and treble positions. The figured bass chords in the 2nd bar are all major chords. & œ œ bœ
? œ œ ˙ bœ œ Bb/F cm f#m/a 6 6 5 œ 3 4 3
3. Play the following chords labeled with Roman Numerals in the key of C major ? 4 I vi IV I
# 4 4. Play the following chord progressions in G & 4 major ensuring smooth voice leading.
? # 4 I V I I iii V
Unless stated otherwise, all chords are to be played with one note in the left hand and 3 notes in the right hand. This assessment task is worth 33% of your total mark for the course. If you are having any difficulty with any of the questions or wish to express any concerns then please do not hesitate to contact me at [email protected]. Good luck.
370 Online Keyboard Techniques Course
Week 6 - Tonic and Dominant chords Lesson Notes
1. The Tonic and the Dominant chords are the most important chords in tonal music as they 4 ˙ ˙ ˙ ˙ ˙ help to establish a 'tonal centre'. The tonic is & 4 ˙ ˙ ˙ ˙ ˙ ˙ considered stable while the dominant adds ˙ ˙ ˙ ˙ instability, which is resolved when it moves back to the tonic. The Dominant chord can also have a '7th' added to create extra instability, ˙ ˙ ˙ reinforcing a sense of resolution when ? 4 ˙ ˙ ˙ returning to the Tonic chord. 4 I V V I V7 I
2. The Dominant 7th (V7) can also be used in inversions. When labeling these inversions, we use 4 ˙ ˙ the following bass figurings: & 4 ˙ ˙˙ ˙˙ ˙˙ Root Position = V7 ˙ ˙ 1st Inversion = V6/5 V7 V6/5 V4/3 V4/2 2nd Inversion = V4/3 3rd inversion = V4/2 The numbers 6/5, 4/3 and 4/2 indicate intervals above the bass ˙ ˙ note, like in figured bass. As a & ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙ ˙ general rule, each inversion of V7 ˙ ˙ ˙ ˙ ˙ ˙ moves to chord I differently. ? ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ V7 ---> I V6/5--->I V4/3--->I OR I6 V4/2--->I6
3. The Cadential 6/4 is where we use chord I in second inversion before we use a chord V in root position. It can be used before a V OR V7 4 œ œ ˙ œ œ ˙ chord. It is named the 'Cadential 6/4' because it & 4 œ œ ˙ œ œ ˙ is commonly used at cadential points in music ˙ (i.e. the end of a phrase). œ œ œ œ ? 4 ˙ ˙
Note: Dont let the numbers scare you - they are V 6 - 5 I V8 - 7 I merely indicating that the 8th is moving to the 4 - 3 6 - 5 7th note above the bass as is the 6th to the 5th 4 - 3 and the 4th to the 3rd. It looks a little complicated, but is just telling you precisely what is happening above.
371 Online Keyboard Techniques Course Week 6 - Tonic and Dominant Chords Work Sheet
1. Play the following progression œ œ in the given key and the keys of b 4 œ œ œ œœ œ œ œ œœ w Bb and Eb major. & 4 œ œ œ œ œ œ œ œ w
? 4 œ œ b 4 œ œ œ œ œ œ w I I6 V V6/5 I V4/2 I6 V4/3 I
3. Harmonise the following melodies using either a Tonic or Dominant chord in the left hand. Play the left hand chords in root position first and then experiment with different inversions. a # j # 4 œ œ. œ œ œ œ œ & 4 œ œ œ œ ˙ œ œ œ œ œ œ œ œ
b ### 4 œ œ œ œ & 4 œ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙
2. Practice the following 8 bar exceprt from Haydn's 'Quadrille'. It contains only Tonic and Dominant harmony. Once you have familiarised yourself with it, improvise a very simple melody over the given left hand part and see what you come up with. Remember to think of the chords you are using and what notes they contain. For an extra challenge, try playing and improvising a melody with the chords in a different key.
˙ œ ˙ & 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
? 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œœ œœœœ œ œ œ œ œ œ œ œ œ œœ œœœœ œ œ
[email protected] - Please email me if you need any help.
372 Online Keyboard Techniques Course
Week 7 - The Sub Dominant Chord (IV) Lesson Notes
1. The Sub-Dominant chord (Chord IV) is commonly used before going w b w to chord V or V7. Chord IV & w b b w occasionally goes to chord I and this is often referred to as a 'Playgal' cadence. Chord IV is a major chord in a major key and a minor chord in ? w w a minor key. bbb C major: IV c minor: iv
2. Chord IV is usually used in root position or first inversion. Chord IV has a note in common with chord I and none with Chord V (Note: there is a note in common with V7). So remember when going from chord IV to chord V that all the notes of the chord in the right hand goes down as the bass note goes up. Here are a few examples of ways you can use chord IV.
œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ
? œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ I IV V I I IV6 V7 I I IV I IV V6 - 5 I 3 4 - 3
373 Online Keyboard Techniques Course
Week 7 - The SubDominant Chord (IV) Work Sheet
1. Play the following chordal progression in the 4 original key and in the keys of F and G major. œ œ œ ˙ & 4 œ œœ œ œ œ œœ ˙
? 4 œ 4 œ œ œ œ œ ˙
2. Play the following progression in the 4 œ œ œ œ œ œ ˙ original key and in the keys of d and e minor. & 4 œ #œ œ œ œ #œ ˙
? 4 4 œ œ œ œ œ œ ˙
3. Play the following chords labeled in Figured bass and Pop chord style. Use one note in the ? # ## 4 left hand and the rest of the chord in the right # 4 œ œ œ hand. 5 œ6 6 - 5 A f#m f#m/c# c# 3 5 4 - 3
[email protected] - please email me if you need help
374 Online Keyboard Techniques Course Week 8 - The Supertonic Chord (ii) Lesson Notes
ii7 iiø7
1. The supertonic chord (chord ii) is a minor chord when used in a major ˙ b ˙ key and a diminished chord when & ˙ ˙ b b ˙ ˙ used in a minor which means the 5th ˙ ˙ ˙ ˙ note of the chord is flattened because of the key signature. Chord ii can also have a seventh added similar to when the dominant chord uses a ? ˙ ˙ b ˙ ˙ seventh. b b C major: ii c minor: ii0
2. Chord ii (and ii7) are usually used in root position or first inversion. Chord ii is mainly used immediately after chord I and just before chord V or V7. Chord ii has a note in common with chord V but when using ii (or ii7) to V7, there are two notes in common. Try to keep these notes in the same voice if using these chords. œ ˙ œ ˙ œ œ ˙ œ œ ˙ & œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙
? œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ I ii V I ii6 V I ii7 V I ii6/5 V
(ii7 in first inversion) Das Klinget (Mozart - The Magic Flute) - This example will be used as part your work sheet - As you can see, this simple melody in the first four bars uses chords I and V7. Make a note of how the notes of the melody are contained the chord. Your task is to harmonise the remainder of the melody and use chord ii in your harmonisation. # 4 œ œ œ œ j & 4 œ œ œŒœ œ œ Œ œ œ œ œ Œ œ ˙Œ œ ˙ œ œ œ. J œ ˙ œ. œ ˙ Ó
w w ? # 4 w w w w 4 w w
375 Online Keyboard Techniques Course
Week 8 - The Supertonic Chord (ii) Work Sheet
1. Play the following chordal progression in the 4 keys of G, D, A and E major. œ œ œ œ œ œ ˙ & 4 œ œ œ œ œ œ ˙
? 4 œ œ œ 4 œ œ œ ˙
2. Play the following progression in the keys of d, g, c and f minor. 4 & 4 œ œ œ œœ œ œ ˙ œ œ œ œ œ #œ ˙
? 4 œ œ œ 4 œ #œ œ ˙
3. Dont forget to harmonise the remainder of the example given to you in this weeks lesson notes and make sure you use a Supertonic chord. Once you have a nice sounding harmonisation, tranpose it, with the melody, down into F major.
[email protected] - please email me if you need any help
376 Online Keyboard Techniques Course
Week 9 - The Submediant chord (vi) Lesson Notes
1. The Submediant chord (vi) is a minor chord when used in a major key and a major chord 4 ˙ ˙ bb w n˙ when used in a minor key. Chord vi is rarely & 4 ˙ ˙ b w ˙ ˙ used with a seventh so we shall not be using it. ˙ ˙ Chord vi shares two common tones with chord I and can be used after chord I as well as after chord V (when chord vi is used after chord V we label it as an 'interrupted cadence'). ? 4 b 4 ˙ ˙ b b w ˙ ˙ C major: I vi c minor: VI V VI (interrupted cadence)
2. When improvising a melody, it is important œ to be fully aware of what notes are in the 4 œ œ œ œ œ œ œ ˙ chords you wish to improvise around. If you & 4 œ wanted to make up a melody of chords I to vi, for example, in C major, you wouldn't use notes that dont belong to the key you are in, unless you are intentionally trying to create ? 4 that kind of sound. This melody is an example 4 ˙ ˙ ˙ of improvising a melody over a chordal I vi ˙ V I progression. Note: chordal progressions can sometimes just be 'highlighted' with a bassline and melody only. The notes of the chords are in the melody and as such give the impression of chords being played.
3. Learning to improvise takes a long time and plenty of experimentation. Never feel bad if you cannot pick up improvising straight away. As your skills in keyboard playing improve as well as your knowledge in how harmony works, your ability to make up melodies will improve also. Remember, to get the most out of improvising practice, try to think of it as a fun, creative process, not a competitive challenge.
377 Online Keyboard Techniques Course
Week 9 - Submediant chord (vi) Work Sheet
1. Play the following progression in D, E and F# Major. 4 œ œ œ œ w & 4 œ œ œ œœ w
? 4 4 œ w œ œ œ
2. Play the following chords labeled in Figured Bass. Notes without any numbers? 4 œ œ œ œ underneath are 5/3 chords. b 4 œ œ œ 6 7 6 œ 5 3
3. Harmonise the following melody (B I N G O). Make sure you use chord vi (f# min) in your answer.
# ## 2 œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ### œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Email me [email protected] if you are having any problems with your work.
378 Online Keyboard Techniques Course
Week 10 - The Mediant chord (iii) Lesson Notes
1. The Mediant chord (iii) is a minor chord b when used in a major key and a major chord 4 ˙ ˙ b b ˙ ˙ when used in a minor key. It is important to & 4 ˙ ˙ ˙ ˙ note that when using the mediant in a minor key we DO NOT raise the leading note, as you would in a typical harmonic minor scale. ? 4 ˙ b ˙ Chord iii also shares two common tones with 4 ˙ b b ˙ chord I, so ensure smooth voice leading by C major: I iii c minor: i III (no raised keep the common notes in the same voice like leading note) the example shows.
4 & 4 œ œ ˙ œ œ œ œ 2. Chord iii is most commonly used in root œ œ ˙ œ œ œ œ position and is often used after chord I or chord vi and does not usually have a 7th added. ? 4 œ 4 œ œ œ œ œ ˙
379 Online Keyboard Techniques Course Week 10 - The Mediant Chord (iii) Worksheet
1. Play this short excerpt in # # 4 œ œ A major and transpose it & # 4 œ œ œ œ œ œ œ œ œ œ w down to G major. œ œ œ œ œ œ œ œ œ œ œ œ ? # # 4 œ œ œ œ œ œ œ œ œ œ œ œ # 4 œ œ œ œ œ œ œ œ œ œ œ œ œ
2. Play the following 4 œ œ œ œ chordal progression and & 4 œ œ œ œ œ œ œ œ transpose it to the keys of F, œ œ œ œ œ œ œ Bb and Eb major. ? 4 œ 4 œ œ œ œ œ œ œ
[email protected] - please email me if you are having any difficulties.
380 Online Keyboard Techniques Course Week 11 - Revision Work Sheet
1. Play the following chordal progression and b 4 œ œ œ then in G and A major. & 4 œ œœ œ œ œ œ œ œ œ œ œœ œ
? 4 œ œ œ b 4 œ œ œ œ œ I ii6 V vi iii IV V7 I 5
2. Improvise your own melody based on the following chords and 4 harmonise it with an & b 4 accompaniment however you wish - try to be dm F A7/E dm dm Bb gm dm creative with your accompaniment. ? 4 b 4
3. Harmonise the ## 4 œ œ œ ˙ following melody & 4 œ œ œ œ œ œ œ œ œ œ Using a Tonic, œ œ ˙ Dominant seventh chord and at least one other chord covered in weeks ? # 4 6-10. # 4
Remember, if you have any difficulty with any of these tasks, please do not hesitate to email me at - [email protected] - also next weeks lesson is the final assessment task which must be performed via skype. Please email me times when you are to perform the test - This assessment must be completed before the 30th of June.
381 Online Keyboard Techniques Course
Week 12 - Final Assessment
1. Play the following chordal progression in the original key and in G major. 4 œ œ œ œ œ œ œ œ & 4 œ œ œœ œ œ œ œ œ
œ œ œ ? 4 œ œ œ œ œ
^ ^ ^ ^ 2. Play the following chords labeled in treble 1 5 1 5 position, figured bass and pop chord style (chords by their letter name). & 4 œ œ œ œ
? 4 œ œ œ 4 C C/E G C 6 6 - 5 œ5 5 4 - 3 3 3. Harmonise the following melody with one chord per bar. In your answer ensure to use at least 3 of the following chords: I, ii (or ii7), iii, IV, V (or V7) and vi and any of their inversions. # ˙ œ œ ˙ & 4 ˙ ˙ ˙ œ œ ˙
? # 4
[email protected] - Please email me if you are having any difficulty - thank you again for participating in this research project.
382 ! Rubric!Made!Using: RubiStar!(!http://rubistar.4teachers.org!)
Instrumental0Music0Performance060Individual0:0Online0Keyboard0Techniques0Assessment0Ruberic Appendix G
Teacher!Name:!Wett
Pre and PostStudent!Name:!!!!!______-course test Marking Rubric
CATEGORY 4!points 3!points 2!points 1!point Incomplete!(0) Rhythm/Tempo!(4!points) The!tempo!is!secure!and!the! The!tempo!and!rhythm!are! The!tempo!is!somewhat! The!tempo!is!usually!erratic! Question!was!not!completed! rhythm!is!accurate!and!well! mostly!accurate.!There!are!a! erratic.!Some!rhythms!are! and!rhythms!are!seldom! or!attempted. placed. few!duration!errors,!but!these! accurate.!Frequent!or! accurate!detracting! do!not!detract!from!the!overall!repeated!duration!errors.! significantly!from!the!overall! performance. Rhythm!problems!occasionally! performance. detract!from!the!overall! performance. Note!Accuracy!(4!points) Notes!played!are!consistently! An!occasional!inaccurate!note! A!few!inaccurate!notes!are! Wrong!notes!consistently! Question!was!not!completed! accurate. is!played,!but!does!not!detract! played,!detracting!somewhat! detract!from!the!performance. or!attempted. from!overall!performance. from!the!overall!performance.
Voicing/voice!leading!(4! The!position!of!chordal!tones! The!position!of!chordal!tones! Many!chordal!tone!positions! No!semblance!of!voicing!is! Question!was!not!completed! points) are!consistently!accurate!in! are!mostly!accurate!in!relation! are!out!of!place!and!do!not! demonstrated!with!chord!tone! or!attempted. relation!to!the!previous!chord. to!the!previous!chord. relate!to!the!previous!chord! placement!erratic!and!highly! well. distracting.
Overall!Mark!(out!of!12) Outstanding!(10V12!points) Proficient!(7V9!points) Capable!(4V6!points) Novice!(1V3!points) No!Result!(0)
383 Appendix H Pre-Course/Post-Course Test Reports
ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant 1
Pre-Course Test
The$opening$chords$were$sluggish$and$many$incorrect$notes$were$played.$The$participant$was$ sight6reading$the$test,$having$informed$me$prior$to$the$recording$that$they$had$not$had$time$to$ open$and$practice$it$before$commencing.$It$could$be$fair$to$assume$then$that$the$opening$written$ out$progression$may$have$been$performed$better$with$more$time$to$practice.$ $ It$is$clear$that$the$participant$has$had$very$little$experience$with$playing$chordal$progressions$ and$thinking$harmonically$at$the$keyboard.$The$transposition$of$the$opening$progression$was$not$ attempted$nor$was$questions$2$or$3.$This$participant$has$reached$a$5th$grade$A.M.E.B$grading$ several$years$prior$to$this$course.$
Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 1 0 0 1/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 1 0 0 1/36 Novice
Post-Course Test
There was a significant improvement demonstrated in the post-course test compared to the pre-course test. The opening chordal progression was played with fewer mistakes and the transposition was not only attempted, but also done in a manner that was of similar standard to the original key.
Question 2 was not played correctly in the first half of the question. The treble position was not attempted in the right hand, rather just the not given was played with left hand chords. However, the chords in the left hand were correct according to the labeling. This demonstrates either a lack of understanding of what was required or the expected outcome of the question was not made clear enough.
Question 3 was attempted successfully with the basic requirements of question being met. The participant used the progression I, IV, V, I as block chords in the left hand accompanying the melody. Again, in comparison to the pre-course test where nothing was attempted, this attempt was very well performed and demonstrated an improvement in harmonization skills.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 2 2 2 6/12 Note accuracy 3 2 2 7/12 Voicing/Voice 3 1 2 6/12 leading. Overall 8 5 6 19/36
$
6
384 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)2)
Pre,Course)test)
This%participant%demonstrates%a%very%strong%sense%of%harmonic%direction%and%a%very%a%good% technique.%The%opening%harmonic%progression%was%played%almost%flawlessly,%with%only%a%slight% hesitation%in%the%middle.%The%transposition%of%the%progression%was%not%as%fluent%and%had%several% more%mistakes.%Even%though%the%participant%did%not%finish%the%transposition%played,%the%part%that% was%performed%still%demonstrated%a%good%understanding%of%the%harmonic%relationship%between% the%two%keys.% % The%second%question%was%attempted,%with%only%the%first%half%of%it%being%performed.%A%good% understanding%of%chord%labeling%using%chord%letter%names%or%‘pop’%chords%as%well%s%treble%position% was%demonstrated.%Upon%asking%the%participant%whether%they%knew%exactly%what%treble%position% was,%they%responded%by%saying%that%‘I%was%guessing’%the%answers%based%on%the%pop%chords%labeled% underneath.% % The%final%question%was%attempted%and%harmonized%in%a%manner%that%was%a%little%abrupt,%with%the% chords%being%tonal%and%relative%to%the%key,%but%not%following%a%strict%harmonic%rhythm.%This%was% still%an%adequate%harmonization%that%clearly%demonstrates%the%participants%experience%in%thinking% harmonically%at%the%keyboard.% % Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 1 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 1/36 Novice
Post,Course)test) ) The%participant%demonstrated%an%even%stronger%sense%of%harmonic%direction%with%the% performance%of%this%test%being%a%strong%one.%The%opening%progression%was%well%controlled%and%the% transposition%was%completed%in%full%and%with%fantastic%accuracy.%An%obvious%improvement%has% been%shown%here.% % The%treble%position%was%incorrectly%played,%with%only%the%single%notes%in%the%right%hand%being% played%with%chords%in%the%left%hand.%These%chords%in%the%left%hand%were%played%correctly,%however.% The%second%half%of%question%2%was%successfully%completed.% % By%far%the%most%impressive%and%successful%part%of%the%post%course%test%was%the%harmonization.%An% augmented%melody%was%given%to%fit%a%harmonically%interesting%Alberti%bass%accompaniment.% Whilst%it%did%not%follow%strictly%what%the%guidelines%indicated,%it%did%follow%the%brief%learning% content%offered%in%the%course%on%improvisation.%This%harmonization%demonstrated%one%of%the%key% points%of%doing%a%keyboard%harmony%course,%which%is%to%improve%on%skills%such%as%these.% % % %Post-Course Question 1 Question 2 Question 3 Total
Rhythm/Tempo 3 3 4 10/12
Note accuracy 4 2 4 10/12 Voicing/Voice 4 2 4 10/12 leading. Overall 11 7 12 30/36
%
385 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)3)
Pre,Course)test)
The first part of the first question was played adequately, with a few errors, which indicate a lack of understanding of the chordal progression. The transposition into G major was attempted but not completed. Many more errors, both incorrect notes and hesitations were made compared to the original key. This clearly highlights transposition as a weaker area of the participant’s abilities.
The second question was attempted but incorrectly. The participant informed after the recording that they had made a guess based on what they thought the question (specifically treble position) was implying. The attempt of the first half that was made was based on the participants prior understanding of chords represented by their letter names.
The harmonization showed hints of the participant’s popular music background. The harmonization resembled an improvised style with major seventh chords being used (in the second chord) as well as an undistinguishable chord before the end (possibly due to the connection). This indicated that the participant was not familiar with more common diatonic harmonic progressions. The attempt was still commendable.
! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 1 0 2 3/12 Note accuracy 1 0 1 2/12 Voicing/Voice 1 0 1 2/12 leading. Overall 3 0 4 7/36
Post,Course)test) ) The video was not recorded due to an error with the recording on computer. The audio, however, was still recorded, and is the basis of this report. The opening question was significantly better than the pre-course test version. There was far greater accuracy and fluency between chords. The participant performed this question with octaves in the left hand instead of single notes. Upon asking after the recording why the left hand was performed this way, the participant replied ‘because it sounded boring without it’. The fact remains that the pitch was correct. The transposition, with similar left hand octaves, was not quite as fluent or accurate as the original key, but was still significantly better than the pre-course test performance. It was played in full.
This entire question was not played as it was meant to. The treble position was not played correctly, though a better attempt was made in comparison to the pre-course test by using both hands and getting the first two chords correct. The second part of the question had an obvious split in the sound on both attempts (which I requested), which may be explained by the particular frequency of the pitch or volume of the pitch cause the distortion. The question was played harmonically correct, however, the voice leading was not played correctly. Also, the participant isolated the pop chords from the treble position, which were to be played simultaneously. The completion of this question, however, is an indicator of an improvement from the pre-course test where this part of the question was not attempted.
The harmonization was more inline with what was required. The participant used the progression I, vi, IV, I and did so by using block chord in the left hand. The difference in ability demonstrated by this participant in the post- course test compared to the pre-course test is substantial. There is an obvious improvement in understanding of keyboard harmony concepts. ! !
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 3 2 4 9/12 Note accuracy 3 2 4 9/12 Voicing/Voice 3 2 4 9/12 leading. Overall 9 6 12 27/36
!
386 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)4)
Pre,Course)test)
The participant has a strong background in music, being trained in both piano and violin. The opening question, both in the original key and the transposition was both strongly and almost effortlessly performed. A strong knowledge of diatonic chord progressions as well as transposition has been demonstrated.
As the participant says on the recording, a guess is being made as to how to play treble position. This guess, however, was a correct one, with both the left and right hand being played correctly in the first half of question 2. The second half however, was played in the left hand only, which is technically correct, however, I was after the figured bass chords being spread over two hands. Given this wasn’t explained in detail in the question, it is understandable, however, that the participant performed it this way.
The harmonization question was performed very well with the choice of chords being very appropriate. The progression iii, ii6/5, V7, I also indicates a strong understanding of diatonic progressions. Overall, this participant has a strong understanding of keyboard harmony concepts. Very well performed, with very little to falter. ! ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 4 4 4 12/12 Note accuracy 4 4 4 12/12 Voicing/Voice 4 4 4 12/12 leading. Overall 12 12 12 36/36
Post,Course)test) ) As in the pre-course test, this participant demonstrates a high standard in keyboard techniques ability. The opening chordal progression, along with the transposition was very well played and was of a very high standard for this level.
The second question was still performed as it was in the pre-course test; only this time the treble position and pop chords were not played at the same time, rather one after the other. The figured bass was performed with just the left hand as in the pre-course test, though it was still correct harmonically.
The harmonization showed signs of improvement, at least in terms of accompaniment and improvisation, with the participant shifting around with inversions of different diatonic chords throughout and decorating the melody with chords in the right hand. The progression I, I 6/4, IV, IV6, IV, V7, I6/4, IV I was used (roughly) to decorate the melody. This participant is highly skilled at this level of keyboard harmony and is clearly better suited in a harder course. ! !
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 4 4 4 12/12 Note accuracy 4 4 4 12/12 Voicing/Voice 4 4 4 12/12 leading. Overall 12 12 12 36/36
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387 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)5)
Pre,Course)test) ) There were a few hesitations, making the opening progression not as fluent as it could be, but the accuracy was very good and the over all performance of the progression was well played. The transposition was not attempted. The participant states on the recording that if they had the notes written out in front of them, it wouldn’t be a problem. This participant should benefit in this area by undertaking the course.
The second question was not attempted properly, with the participant acknowledging they don’t understand chord labeling yet. The third question was also not attempted properly, with only the melody being played without any accompaniment.
The overall impression of this participant is that they are quite competent at the piano, but lack a firm understanding of keyboard harmony concepts. This should be easily rectified if the participant pays close attention to the course material.
! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
Post,Course)test) ) Course!not!completed!–!no!reason!given.!
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
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388 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)6)
Pre,Course)test) ) The opening progression was played with a high level of confidence and accuracy, with no mistakes being made. The transposition was not as confidently played, and after a couple of attempts it was successfully finished. It would appear part of the problem was that the participant attempted to play the progression too fast and not take their time to ensure the chord correct before playing. Over all, however, this question was well played.
The first half of the second question was performed correctly. The second half was not played correctly however. The voice leading was not smooth and the cadential 6/4 was missed by going straight to chord V without leading into it with I6/4. This was still a good attempt at the question and a high standard of chord playing was displayed.
The third question was played to a very high standard. The choice of chords was well thought out and it is obvious that the participant has had experience in harmonization and improvisation. The chords used were I6, vii6, I,V 4/3, V6/5, I, vi, V, I. Overall this candidate is of a high standard already, but could benefit from more work in transposition and chord realisation. ) ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 2 3 3 8/12 Note accuracy 2 3 3 8/12 Voicing/Voice 3 3 4 10/12 leading. Overall 7 9 10 26/36
Post,Course)test) ) Did!not!complete!course!due!to!personal!reasons.!
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
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389 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)7)
Pre,Course)test)
The opening progression was well played, with no errors and a good sense of direction. The transposition was not attempted. The participant indicated that if they had more time they would have been able to complete the question.
The treble position was not performed correctly in the first half of the second question, however, the chords used is the left hand were harmonically correct. The second half of the question was played mostly correct with only the voice leading between the last two chords (V –I) not being realized. Overall this question was well played considering the doubts expressed by the participant before commencing. It is obvious that there is a sufficient level of keyboard harmony knowledge to expand their skills in chord reading to a higher level.
The attempt at harmonizing this question was commendable. The progression used was I, ii, iii, I which indicates that the participant is not familiar with tonic and dominant harmonization. When asked after the recording whether or not they knew what they were doing with the chords, the participant responded by saying that they didn’t like the chords they used and if they had had more time to look over it, they would have worked on some better chords.
The participant has demonstrated an adequate standard in keyboard harmony ability and it a perfect candidate for this course. ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 1 1 2/12 Note accuracy 0 2 3 5/12 Voicing/Voice 0 2 2 4/12 leading. Overall 0 5 6 11/36
Post,Course)test) ) Did!not!complete!course!–!no!reason!given.!
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
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390 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)8)
Pre,Course)test) ) The opening chordal progression was completed with many hesitations and accuracy issues. The participant was clearly sight-reading the example and this could be a factor as to why it was not played smoother. The transposition was not attempted.
The second and third questions were not attempted. A discussion with the participant revealed that they are coming from a vocalist background and the reason for volunteering to do the course was to improve their keyboard skills to assist in learning vocal material. The level of piano experience is very low, with the participant saying that ‘I’ve only been learning for one year’ but wanted to improve and is keen to take the course seriously.
! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
Post,Course)test) ) This opening progression was steadily played with very few inaccurate notes, which were corrected. Even though the speed at which the chords were played was a little slow, the level of improvement is significant in comparison to the pre-course test. The transposition was not as fluent with a lot of time taken in between chords, but it was obvious that the participant was taking their time to consider what the chord was to avoid ‘guessing’. Given that this was not even attempted in the pre-course test, the ability to transpose a chordal progression over a 12-week course indicates a good work ethic and with more work in this area, the participant will improve further.
The first half of the second question was played correctly, with only a minor hesitation. The second half, however, was not very strong with it proving to be quite a challenge for the participant. After some delay in getting through the first few chords, The participant was asked whether or not they would just like to skip that question, but they insisted on giving it one more try. The participant eventually played with all the chords needed, but it was not done so with any conviction. This is an area that would need to be addressed in more detail in the future. This is still an improvement from not being able to attempt it in the pre-course test.
The final question has numerous hesitations with the given part seeming to cause difficulties. The chords used in the harmonization were appropriate, however, and obviously this demonstrates a better understanding than the pre- course non-attempt.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 1 1 1 3/12 Note accuracy 1 1 1 3/12 Voicing/Voice 1 1 3 5/12 leading. Overall 3 3 5 11/36
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391 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)9)
Pre,Course)test) ) The opening progression was slow but consistent with only a few obvious hesitations interrupting the fluency. The transposition was mis-interpreted, with the participant attempting to play the progression exactly the same but altering the key signature, meaning that the chords were still in C major but contained an Fsharp.
The second and third questions were not attempted, with the participant indicating that they had never seen chord labels before and had no experience with harmonization.
! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
Post,Course)test) ) Unfortunately, the participant was unable to commit as much time to the project as he would have liked and subsequently was unable to perform the post-course test any better than the pre-course test. This was largely due to work commitment, which came about after agreeing to participate in the course. This inability to allocate time towards the course is a crucial aspect to online learning, as the learner needs to be able to dedicate enough time to get through the work each week. The willingness to participate was still greatly appreciated and serves to highlight other aspects of online learning, such as time management, that are important to consider before commencing.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
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ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)10)
Pre-Course)test) ) This participant was a first year, first semester University student, and as such assessing this participant’s results and thoughts on the course were important. The chordal progression was played very fluently and evenly with no incorrect notes or obvious hesitations. The transposition was played well, with it not being played quite as fluently or accurately as the original progression. It was still performed with conviction and a good understanding of the relationship between the chords in both the keys.
This participant stated prior to playing question two that they did not understand what treble position meant and did not play it. Instead the letter name chords were played and were harmonically correct. The figured bass was not performed correctly, however, with the first two chords being played incorrectly.
The harmonization was played well, but the choice of chords was not ideal. It was clear that the participant did not have a good understanding of harmonic direction based on the chords that the participant selected to accompany the melody.
The participant is a perfect candidate for the course not only because they are part of the target group for the course, but because they demonstrate a good understanding of keyboard harmony that can be furthered with training. ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 2 0 3 5/12 Note accuracy 3 0 3 6/12 Voicing/Voice 3 0 2 5/12 leading. Overall 8 0 8 16/36
Post-Course)test) ) It is important to note that due to technical problems that were not realized until the analysis of the videos, the audio of the examiner cannot be heard in this recording. The audio of the participant can be heard, however.
The opening progression was played well, with no mistakes being made and the flow of the progression being consistent. The transposition was markedly better with there being no mistakes and more fluent. An obvious improvement has been demonstrated here.
The treble position was played correctly in the post course test and the figured bass was performed with the correct voice leading. As has been the case with a few participants, the pop chords were played as a separate activity when it was supposed to be played at the same time as the treble position. This is clearly the examiner at fault for not making the distinction clear enough so that there could be no room for this misunderstanding.
The harmonization was performed with a better sense of direction. The chords used were iii, IV, V4/2, I6 and it was good to see the use of a dominant seventh chord in an inversion. Overall the post-course test was very successfully performed and clearly demonstrated an improvement from the precourse test.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 4 4 4 12/12 Note accuracy 4 4 4 12/12 Voicing/Voice 4 4 4 12/12 leading. Overall 12 12 12 36/36
393 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)11)
Pre,Course)test) ) Due to technical errors, the audio of the examiner was not recorded. The audio of the participant is recorded however.
The opening chord progression was a little hesitant, but overall was well performed. The participant clearly has an adequate understanding of how to play chords on the piano but explained to me after the recording that they were incredibly nervous and it affected how they played. The transposition was not attempted.
The second question was not attempted properly with the participant only playing the given notes and not filling out the chords in both the treble position question and figured bass. The participant says on the recording that they do not know what treble position is.
The harmonization was attempted but was done so without an understanding of what would be appropriate. It would appear that the participant thought that the original key was in D major instead of G major and harmonised it thusly. This is probably because the opening note is a D.
This participant could benefit from this course to further their piano skills. There appears to be a good level of pianistic ability, but lacks experience in thinking harmonically. ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
Post,Course)test) )
Did not complete – no reason given.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
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394
ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)12)
Pre-Course)test) ) This recording was not done using Skype, rather another free chat program because of the participants work computer not permitting Skype. The sound quality has been severely affected by it but it is still slightly distinguishable.
The participant struggled to get through the opening progression and subsequently did not finish it or attempt any other part of the pre-course test. This may have to do with the participant emphasising before and after the test that they were feeling incredibly nervous. ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
Post-Course)test) )
Did not complete – work commitments became overbearing and withdrew from course.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
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395 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)13)
Pre-Course)test) ) It is important to note that this participant is a graduate in piano and currently teaches piano privately. The participant kindly agreed to take part in the project because they had never really taken keyboard techniques seriously and had never taken an online course before.
The opening question was played to a very high standard with an effortless performance of the progression given. The transposition was performed without any practice and was very well played, with only a few minor inaccuracies. The fluency was still at a high standard.
The second question was played correctly, though the participant admitted to guessing what the question meant by pop chord style and treble position. The figured bass, however, has some hesitations and it was evident that the participant did not feel as secure with chord labeling as they did with progressions and transposition. The question was eventually played correctly during our discussion of question 3.
The harmonization is where the participant really demonstrated a strong understanding of harmonic direction. The chords used were I, vi, Iv, ii, Iv6 V, I and were accompanied very pianistically, with arpeggio movement in the left hand and filled out chords in the right hand, rather than just block chords and melody. Though this participant is at a level well beyond this courses’ difficulty, they may still benefit from more work on chord labeling. ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 3 2 4 9/12 Note accuracy 3 2 4 9/12 Voicing/Voice 3 2 4 9/12 leading. Overall 9 6 12 27/36
Post-Course)test) ) Again, a high level of playing ability was displayed. The opening progression and transposition were both similarly performed as in the pre-test. The second question was slightly improved, though still a little hesitant. The harmonization was, again, the stand out aspect of this participants playing. It is unlikely if this course was of much benefit to this participant due to their already high standard, but there was a slight improvement in the performance in the post-course test in comparison to the pre-course test. This could be due to having more time to prepare for the post-course test, or because of the lesson videos and weekly exercises.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 3 2 4 9/12 Note accuracy 3 3 4 10/12 Voicing/Voice 4 3 4 11/12 leading. Overall 10 8 12 30/36
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396 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)14)
Pre-Course)test) ) This was performed on a kitchen table with a small electric keyboard and played an octave higher so all the notes could be played as some would be missing if attempted to play it in the range that it was notated. This participant has done well considering their playing circumstances.
The opening progression was slightly hesitant displayed a good understanding of where the harmonic direction was going with very few pitch errors. The transposition was not performed, though the participant did try to begin it but lacked confidence to give it a try.
The chords in the second question were harmonically correct, but the treble position chords were not played, only the left hand chords were with the treble position notes above. The figured bass was played correctly, however, and was played without hesitations or mistakes.
The harmonization was accurately played, with the chordal progression being I, Iv, V, vi. This participant demonstrates a high level of understanding of keyboard harmony concepts. ) ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 2 4 6/12 Note accuracy 0 2 3 5/12 Voicing/Voice 0 2 4 6/12 leading. Overall 0 6 11 17/36
Post-Course)test) ) There were some noticeable improvements in the opening progression, but there is the possibility that this was due to the participant playing on a keyboard that was full size and ‘easier to play’. The Transposition had a false start, but was otherwise well played, with only some minor hesitations. This was an obvious improvement in comparison to the pre-course test, as the participant did not perform any of the transposition previously.
The second question was still played without the treble position being played in the right hand, but the harmony used was correct. The figured bass, however, was correctly played without any mistakes. There was no obvious improvement in the chord labeling aspect of the participants playing in comparison to the pre-course test. However, it was well played overall.
The harmonization was well played and a little more inventive, harmonically, than the pre-course test. The participant informed me after the recording that they wanted to make it a little more interesting than just one chord per bar because that was ‘boring’ and as such included a plagal cadence at the end (the participants favourite). This quasi-improvisatory approach to the harmonization question as well as the improvement in the transposition is indicative of an improvement in the participants overall ability in keyboard harmony.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 2 3 4 9/12 Note accuracy 2 3 3 8/12 Voicing/Voice 3 3 4 10/12 leading. Overall 7 9 11 27/36
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397 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)15)
Pre-Course)test) ) The participant mentioned prior to recording that they are a violinist and consider herself a beginner pianist. The reason for taking part in the course was to try and get more piano playing experience to help with teaching. It is also important to note that the audio on the examiners end did not record due to technical reasons.
The opening progression was played at a very slow rate but the majority of the chords were played accurately. The transposition was not attempted. The chord labeling was not attempted and the harmonization was only attempted for the first bar before the participant stopped. The participant expressed to me that they felt ‘very nervous’ during the recording once the recording had ceased. ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
Post-Course)test) ) The audio of the examiner was not recorded due to a technical error. The opening progression was played at a similar speed to the pre-course test, though it was done so more accurately. An obvious improvement was shown with the transposition. The speed was still quite slow, but it was successfully completed and with only a few hesitations including a restart.
The first part of the second question was played correctly, though still very slowly and hesitantly. The second part was similarly played, slowly but correctly. The improvement here is significant as the participant had no understanding of any chord labeling on piano prior to this course.
The harmonization was attempted successfully this time, with the chords I, ii, V, I being used. This is another big area of improvement as the participant was unsure of how to harmonise a melody before undertaking the course.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 1 1 1 3/12 Note accuracy 1 2 2 5/12 Voicing/Voice 2 2 3 7/12 leading. Overall 4 5 6 15/36
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398 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)16)
Pre-Course)test) ) This participant took part in this project from overseas. Any connectivity or clarity issues may be attributed to this. The opening progression was well played with very little hesitation or inaccuracy. The transposition had a few hesitations, but was still played well. The participant demonstrated a good level of understanding of chordal progressions and how they move.
The second question was not attempted.
The third question was well harmonized, with the chords I, IV, V, I being used.! ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 2 0 2 4/12 Note accuracy 2 0 2 4/12 Voicing/Voice 2 0 3 5/12 leading. Overall 6 0 7 13/36
Post-Course)test) ) Unfortunately, due to technical reasons, the video was recorded, however, no footage or audio was displayed/heard.
Having witnessed the post-course questions being played, there was a small amount of improvement overall, especially with the second question which was attempted successfully.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 3 2 3 3/12 Note accuracy 3 2 2 5/12 Voicing/Voice 3 2 3 7/12 leading. Overall 9 6 8 15/36
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399 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)17)
Pre-Course)test) ) This participant took part in this project from overseas. Any connectivity or clarity issues may be attributed to this.
This participant made it very clear that they were nervous and became a little unsettled by the experience. The opening progression was played hesitantly, but overall at an acceptable standard. The transposition was not attempted.
Questions 2 and 3 were also not attempted.) ) ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
Post-Course)test) ) The course was not completed. The participant felt they that did not have enough time do the coursework and combined with the stress that they felt during the pre-course test decided to withdraw before completing.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
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400 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)18)
Pre-Course)test) ) The opening progression speed was taken slightly too fast which resulted in a few hesitations, which caused a complete slow down in the overall tempo. The progression was played well, however, and it is evident that the participant has a good understanding of work with chords. The transposition was started but not finished.
The first part of the second question was played correctly, although the participant informed after the recording had ceased that they ‘guessed’ it. The second part of question 2 was not attempted.
The harmonization used an interesting chord progression of V, IV, I6/4, IV, I. This was not the most appropriate harmonization, however, it was well played and demonstrated prior experience with the harmonisation of melodies.
! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 2 2/12 Note accuracy 0 0 3 3/12 Voicing/Voice 0 0 2 2/12 leading. Overall 0 0 7 7/36
Post-Course)test) ) Course not completed – No reason given.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
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401 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)19)
Pre-Course)test) ) This participant informed me prior to recording that they had very little piano experience over the past two years of learning, but hoped to improve their piano abilities by doing this course.
The opening progression was only partially attempted, as was the transposition, with only 3 chords being played before stopping.
Question 2 and 3 were not attempted. ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
Post-Course)test) ) Course not completed – No reason given.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
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402 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)20)
Pre-Course)test) ) Due to issues with this participant’s web-cam, video could not be recorded. The opening progression was played very cautiously and slowly, with a few wrong notes being played and not corrected. The transposition was incorrectly attempted, with the participant replacing the f natural with fsharp instead of shifting the tonal centre to g major.
Question 2 was not attempted.
Question 3 was completed but was not harmonized well. The manner in which the harmonization was played did not follow an appropriate progression. ) ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
Post-Course)test) ) There was a very noticeable improvement in this test. The opening progression was played slightly smoother and with fewer incorrect notes. The transposition, however, was greatly improved, with it being played in g major correctly (not just a modification of f natural to f sharp) and with only a few incorrect notes.
Question two was performed hesitantly, with several inaccuracies, but correctly. This improvement is noteworthy, as not only did the participant not attempt it in the pre-course test, they did not believe they would be able to do it.
The final question, however, was not performed appropriately. The harmonic progression sounded as if a lot of thought had gone into it, however, it would appear that the participant has harmonized every note of the given melody rather than just one chord per bar. The participants understanding on harmonization of melodies needs further work to compliment the progress already made in other areas of their keyboard harmony skills. )
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 1 2 1 4/12 Note accuracy 2 2 1 5/12 Voicing/Voice 2 2 0 4/12 leading. Overall 5 6 2 13/36
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403 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)21)
Pre-Course)test) ) A good tempo was set and the chords of question 1 were played well, with only a small mistake at the end of the progression when the participant missed the second last chord. The transposition was played at a very high standard with it being played very smoothly and accurately.
Question 2 was not attempted.
The harmonization was well executed with the chord I, Iv6/4, V-V7, I being used. This was also played to a high standard and it is evident that this participant has had experience in transposition and harmonization. Only the chord labeling section was lacking in this assessment.) ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 3 0 4 7/12 Note accuracy 2 0 4 6/12 Voicing/Voice 2 0 3 5/12 leading. Overall 7 0 11 18/36
Post-Course)test) ) Did not complete – The participant withdrew from the course informing me that due to family and work commitments, they could no longer complete the course and expressed their disappointment in not being able to do so.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
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404 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)22)
Pre,Course)test) ) The beginning of the progression was rather hesitant, but it improved as it went along. It is clear that the participant is able to play chordal progressions adequately, though nerves may have influenced how this was played. The transposition was successfully attempted and completed but not convincingly, with many inaccuracies evident.
The first part of the second question was successfully attempted. The participant admitted after the recording had ceased that they had guessed the first part. The second part of the question was not attempted.
Question 3 was almost played successfully, with the chord progression I, ii, I, I being used. If the second last ‘I’ chord had been made a V chord, the answer would have improved significantly. Well done overall, however. This participant could benefit from this course as their standard is at a level inline with a first year first semester piano student. ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 2 0 2 4/12 Note accuracy 1 0 2 3/12 Voicing/Voice 1 0 1 2/12 leading. Overall 4 0 5 9/36
Post,Course)test) ) Did not complete – No reason given.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
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405 ONLINE KEYBOARD TECHNIQUES ASSESSMENT REPORT
Participant)23)
Pre-Course)test) ) The audio connection through Skype was not working in this recording due to the participant’s computer having technical issues. The audio recorded was done so by making a mobile phone call, putting it on speaker-mode and holding it up to the computer microphone.
The opening progression was played very convincingly, with it being very fluent and no obvious mistakes being made. The transposition was not attempted.
The first part of the second question was difficult to determine as to whether or not it was played properly. This was due to the sound quality. Upon listening to it several times, it appears to be almost played correctly, with the exception of the second chord. The second part of the question was not attempted.
This harmonization was well played, though difficult to hear clearly. The progression I heard was I, IV 6/4, I-V, I. This is a good progression to use, though a cadential 6/4 (I 6/4- V) instead of I-V would have worked better. This participant shows a high standard in chordal playing ability and this course will help with chord labeling and transposition. ! Pre-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 2 2/12 Note accuracy 0 0 2 2/12 Voicing/Voice 0 0 2 2/12 leading. Overall 0 0 6 6/36
Post-Course)test) ) Did not complete – No reason given.
Post-Course Question 1 Question 2 Question 3 Total Rhythm/Tempo 0 0 0 0/12 Note accuracy 0 0 0 0/12 Voicing/Voice 0 0 0 0/12 leading. Overall 0 0 0 0/36
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406
Appendix I Summary of email responses
Course Strengths/Weaknesses
I enjoyed the piano techniques course and I found its clarity and pacing particularly helpful. Each week introduced only a few concepts so that they were easily absorbed before progressing. I found the format of the delivery to be clearly comprehensible (Participant 1).
The layout of the course I felt was good and there were no major difficulties in accessing any of the material. Any emails sent to clarify details were readily answered and helpful. I found the choice of teaching the figured-right-hand(?) interesting considering the other material, as all the other lessons were familiar but I'd never come across this in all the time up to completing 8th grade(AMEB) and was quite curious as to how often and when it would be applicable. I also found this a little harder to grasp, as it was reverse to figured bass numbering (Participant 4).
Overall I did enjoy the course and found the learning materials well presented. I thought that the video and written material suited one another and that the course was easy to follow and extremely informative given my limited musical knowledge (Participant 9).
I am a violinist and self taught piano player without any previous formal piano training and the content of the course was very useful – it gave a solid introduction into chord accompaniment and provided a logical and succinct pathway into the practise of reading two clefs at once, and technical coordination on the instrument. The harmony training involved was also useful from a theoretical standpoint, and I have used the skills I acquired from the course in my own work as a teacher, to aid in the
407 accompaniment of students, something which I previously had not felt confident in attempting to do (Participant 14).
I found the layout and presentation of the course all fine. The videos were clear and well paced […] I found the course content well laid out over 13 weeks, and the level of work appropriate for students beginning their tertiary education (Participant 17).
Online Accessibility
I found learning a mostly practical course (so to speak) online quite a different experience being only used to face-to-face learning. Learning online was nice in that I could do it any time I liked without worrying about fitting around another person, however I found not seeing a person took the pressure off being consistent with practice and didn't inflict the same guilty conscience usually experienced when turning up to a lesson unprepared - which in this case wasn't helpful! Overall I found the course quite user friendly and interesting, however, I think I'll always prefer face-to-face learning for practical courses (Participant 4).
In hindsight I did not complete the course due to life circumstances of work etc and if I did the course over again I would devote more time to it which was the only real factor limiting my learning from the course. An improved modem at my end would also have helped with the video speed and ability to play/ rewind etc […] as for an overall preference I still prefer face-to-face music tuition over the online course as I enjoy the personal nature of face to face learning over online […] Thanks again for the opportunity to participate in a very professional, and informative online course (Participant 9).
The delivery method bears favourable and also less favourable aspects – the provision of a video made the lesson experience feel more interactive, even though there was no personal interaction taking place. It is my
408 opinion that this method of learning could reach a wider range of participants than the traditional method book approach, as the student can understand the proposed outcomes of the lesson material with greater clarity. Having Jordan easily on hand for contact was also a plus, and marks the distinction between simply buying an instructional DVD and the feeling of actually participating in a course, which I feel to be a more engaging experience (Participant 14).
Taking the course overseas made it frustrating at times, because I experienced a number of technological problems throughout the course such as not being able to activate my Blackboard account because I could not get through to the IT-service Desk to reset my password, and not being able to see the video materials—I was able to do the coursework by reading the lesson notes because I’m familiar with half the course content but I imagine it could be discouraging to someone who’s studying it for the first time. Taking the course in Japan and having no help readily available when I needed it made it a lonely experience (Participant 16).
I think online learning has many advantages such as being able to access the course when it suited me and not needing to attend lessons at a set time or place (Participant 17).
Suggested Improvements
I found the video to be unnecessary as the written format was perfectly adequate on its own and was more convenient to print and take to the practice room. (Participant 1)
Given that I had not undertaken any online studies previously I was unsure what to expect and if my home computer system was suitable in all regards to complete the online course. Given this perhaps a short test IT function test prior for those who have not undertaken online learning
409 may assist to ensure that the individuals home computer set up is suitable in all regards? (Participant 9)
[…] my participation in the course was somewhat delayed by a lack of understanding of the technological means of delivery through the website Blackboard, on behalf of the university support staff. I believe this could be easily resolved with the involvement of a trained expert in this field, but it does make a difference as it affected my ability to complete the course in the required time period. Fortunately, the high quality of the course material was worth persevering for (Participant 14).
If there were more chances to interact with the teacher and/or other students may help the students in a similar situation (Participant 16)
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