Read Chapter 9 and do A in the workbook. There is a composition due next Wednesday – 4 part chorale w/ 4 phrases.
-J
Archive for the “Uncategorized” CategoryGet one from Mrs. Taylor if you didn’t make it to class. You must attach your copies of your Chapter 5 homework to get credit.
Summary of NCTs
NCT Approach left by
Reminder – Homework is Chapter 5 Benward, A-C. Due Wednesday! Folks, I’ll try to have your papers graded Friday from our Wednesday test. If you haven’t already read the rest of the chapter on Chords, please do so. We’ll check homework,
Everyone should check out the tetrad tutorial at Ricci Adam’s site: http://musictheory.net/lessons/html/id45_en.html And the figured bass examples at Brian Blood’s site: http://www.dolmetsch.com/musictheory18.htm#fbnotation He will also have a seventh chord tutorial, but it tells you WAY too much information. Check it out, if you like Jazz chords! Theory I Review for Test II
This test will cover interval identification (pp 55-64) and triad construction (pp. 73-75). If you have not already read the text pages above, please do so.
Things to Know: Know the intervals in major scale (tonic to another scale step)
Know the chord qualities in C major scale (build a triad on each scale step).
Which 4ths are perfect (if both notes = same accidental then all 4ths are perfect except for the one built on _______).
Which 5ths are perfect ( Ditto except for the one built on _____).
What are the intervallic definitions of :
Major triad Minor triad Diminished triad Augmented triad
What is a tritone? Be able to build one enharmonically as a 4th or 5th.
Be able to explain the principle of interval inversion.
All triads will be identified or built in root position, not the SATB style from recent worksheets.
After the break everything we will use the workbook a lot. Make sure you have one.
Our big test is postponed until Sept. 8th due to band trips. The link for the review sheet is : Below are vocab words for the test following Monday’s…I’m looking at Friday Sept. 12th. Expect timed tests on Wednesday and Friday. Vocab- Workbook pages for this Friday’s homework are here: The workbook for our Benward text is being printed this week and we should see them delivered to our bookstore by the end of next week. Save some money and get yours ASAP! Song for today = “Your Love Is” by Paul and Storm Today we took a timed notation quiz where you were required to identify 40 notes (bass/treble clef) by letter name in about 90 seconds or less. If your score on this quiz was below 70, you should consider one or both clefs candidates for remediation. Why? Because being professional requires immediate recognition and reaction to the stimulus (i.e. note). If you’re standing there thinking “All Cows Eat Grass” while I’m already processing the next measure of music, guess who’s behind? Those “tricks” (mnemnonics) we were all taught don’t cut the mustard (to coin an old phrase, “Tricks are for Kids”) and here’s how to get over this. Make Flashcards. Flashcards are much cooler than javascript sites on the internet because you’re in control of the learning process, not some Skinnerian-style teaching machine. Draw the offending clef on one side of an index card and write the note 2 ledger lines below it. On the back side, write the letter name of the note. Continue making cards until you’ve reached the note 2 lines above the clef. Now, looking at the clef sides of the cards, shuffle and draw from the pile and say the name of the note immediately. If you can’t, put that card in the stack “to be learned”. When you reach the end of the pile, you’ll have a stack of cards you know, and a stack you don’t. Select a few that you don’t know and study them for a few moments, then add them to the stack you’ve learned. Reshuffle and draw from the pile, removing any that you don’t know for further study. Keep doing this until you can immediately name every note. This requires time, self-discipline, and flashcards. If you need help in any of these areas, see me. Also today we learned the silly theory terms: simple division of the beat Compound division of the beat hemiola syncopation Assymetrical time signatures Dotted note values simple, duple and quadruple beat groupings Tonic supertonic mediant subdominant Dominant submediant subtonic leading tone Transposition = A Bb clarinet sees a “C” and sounds a “Bb”. Of all these terms, you MUST memorize the silly theory names of the scale degrees. Make flash cards if you must. If you haven’t read the intro, chapters 1 and 2 in Benward yet, you’re marching on thin ice. Put down that Latte’ and make your parents proud. Make it a good weekend-
-J Everyone made it again today! Great job! Today’s stuff Octave Identification = (we number the C’s on a piano; the C1 octave goes from the lowest C on the piano up to the B (leading tone) below C2. The stuff that’s lower is in the 0 (zero) octave (ex.- A0). C2 is the C below the bass clef. Middle C on a grand staff (and piano) is C4. C6 is 2 ledger lines above the treble clef. Clefs = treble/G, bass/F, movable C clef/alto/tenor/ Harmonic series = We rearranged the first 6 notes and found a major triad. The first note we encounter that’s different resolves up a Perfect 4th or down a Perfect 5th. Henceforth, I will refer to this as a law of harmonic resolution (and we can make comparisons by choosing this as our standard). Therefore, a G chord wants to go to C, C wants to go to F, etc… It’s a big circle! The circle of 5ths/4ths. I always see these drawn backwards; why is that? I like my C in the 12 o’clock position and then I write F, Bb, Eb, etc… as if they were the numbers 1, 2, 3, etc.. on the face of the clock. This way, time always moves to the correct chord. Backwards movement is possible, but it is not “resolving” movement (think consonance). I made a chart from 0 to 7 and put the flat major and minor key centers in a grid for you to learn in preparation for your first timed tests. We’ll add the #’s next week. We talked about the Greek modes and I illustrated how the fight song might sound different as it moved from one mode to another. My mnemonic is “I Discovered Paul Lost My Armadillo Larry” translated to “Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolean, Locrean”. If you dudes/dudettes wanna understand the church modes, refer back to the Law of Harmonic Resolution.
- Source = http://en.wikipedia.org/wiki/Musical_mode We spoke briefly about every keyality (key signature) having a tonality (Major or minor modes, if you’re “normal”). That’s why we’re in mastery mode. You must master these fundamentals. This is our vocabulary and we have to be able to “think” in keys and see both Major and minor, and know the difference between dissonant or consonant movement. Can you write out the circle of major/minor keys in 2 minutes or less?
Today is a new beginning for you. Here is a list of things/issues discussed. 1. “Besponsibility” – be all that you can be+ be responsible. 2. Which edition of text do I need? Answer – get the 8th, if possible. ***UPDATE**** The bookstore is out of the workbook 8th edition. There are 50 on order. 3. Sound/Acoustics – preliminary remarks on sound as energy. 4. Hearing – Remember the kindergarten-style drawing of the Cochlea I did on the board? Hey, I’m doing the best I can. Point is, –protect your damn ears. Unless you’re Rush Limbaugh, they’re the only set you’ll get. 5. You may comment on this blog, but the safest way to contact me is jjinrig@troy.edu . I’m in the Troy phone book if you feel the need to call me at home. But remember what I said about my wife beating up the last student who called me at home? Perhaps I wasn’t kidding. 6. If you have trouble in other classes, I can help. See me ASAP though, before the sinking grade gets too far down the rabbithole 7. If you’re wondering what the French did to destroy music, it was a rebellion against tonality. Their general perception was that the Germans “owned” tonality and they wanted to create a “new” music by avoiding cadences and exploring other modes/scales. I oversimplify, but it IS our first day. 8. The piece I was playing in class was the 2nd movement of Rachmaninoff’s Piano Concerto #2 Opus 18, played by Evgeny Kissin and the London Symphony Orchestra. From the liner notes:
He wrote the movement I played in class first and then finished the 3rd movement. He finished the first movement a year and 10 months later. If you want to hear the musical reflection of his incredible journey back to “normalcy”, then check out the first movement. It’s a trip and I can dig in and catch some of the feelings (i.e. complex emotional mixtures per Dr. Reimer’s philosophy) in the music. You ought to check it out if you’ve never connected with a classical composer very strongly…
See you Friday!
-J |
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