ET 211 EAR TRAINING 3
Instructor: ____Peter Kenagy______________________________________________
Mailbox: MS-899 EAR
Email:
[email protected]_
Office: 899 Boylston St., 2nd floor
Course Chairs: Allan Chase, Cha se, Chair Cha ir
[email protected] 899 Boylston St., 2nd floor
Phone: 617-747-6805
Office hours: Mon. & Wed., 10:00–10:50am
Roberta Radley, R adley, Assistant A ssistant Chair C hair
[email protected] 899 Boylston St., 2nd floor
Course Description: Continuation Description: Continuation of ET 112 Ear Training 2. Development of ear training skills through performance and dictation. Study of melodies, intervals, harmony, and solfege in the Lydian, Mixolydian, Dorian, and Phrygian modes, mixed modes, and harmonic and melodic minor. Continued study of rhythms, meters, conducting patterns, and notation. Course Objective: Ear Training 3 is the third of a series of four required courses that are designed to he lp you learn essential musicianship skills applicable to all styles of music: the ability to accurately recognize, imagine, remember, and notate m usical sounds, and the ability to read music notation. Through guided practice of ear training techniques, your musical perception and performance will become more accurate and you will become more fluent in translating sound into notation and notation into sound. The techniques for learning ear training — moveable-do moveable-do solfege, solfege, conducting, counting systems, and dictation techniques — are time-tested aids for the development of these musicianship skills. The skills you will learn will be useful in composition, arranging, production, learning new repertoire, and bandleading; improvisation and musical interaction in performance; and improved music perception in listening. When you successfully complete Ear Training 3, you will have developed sight-singing and dictation skills giving you mastery of rhythms in 2/8, 3/8, 6/8, 9/8, and 12/8 meters, changing meters, half-note and 16th-note triplets, and half- and double-time tempos, and modal, minor, and mixed-mode melodies. You will be able to recognize, transcribe, transcribe, and perform them accurately using moveable-do moveable-do solfege solfege syllables and conducting patterns. You will be able to recognize and transcribe modal harmonic cadences and chord progressions, modal interchange chord progressions, and minor-key harmonies from the melodic and harmonic minor scales. Required Textbook: Ear Training 3 Workbook: Second Edition by Edition by Scott DeOgburn, Tony Germain, Mitch Haupers, Steve Prosser, Roberta Radley, and Dave Vose (2006, Berklee). Homework and Quizzes: Homework Quizzes: Homework in performance and dictation will be assigned and checked regularly. Preparation of singing exercises and sight-singing practice will be
ET 211 Continuing Ear Training 3 Syllabus
p. 1 of 5
asked for on a regular basis. Melodic, harmonic, and rhythmic dictation and interval and chord recognition quizzes will be given. Approximately one hou r of out-of-class preparation per hour of class is required. Midterms: October 23 - 30 Final Exams: December 11 - 18 Projects: Projects may be assigned and grades will be averaged in as specified. Grading: The usual scale of 0 to 100 will be used for all evaluations, and the usual Berklee letter-grade correspondences will apply. The following table shows grade expectations related to the quality of performance in singing with solfege syllables and conducting: A (90-100) B (80-89) C (70-79) D (60-69) F (0-59)
A "perfect" performance, correct in intonation, rhythm, articulation, and style, done with confidence and without stopping. Above average; performance slightly flawed in one area, or with an interruption. Performance flawed in one area, or slightly flawed in two, or with interruptions, but still a definitely recognizable musical performance. Below average, but still an acceptable musical performance. A musically unacceptable performance.
Final Grade Determination: Assuming no more than three absences are recorded (see below), the course grade is determined by averaging grades earned, weighted as follows: 40% Homework and Projects: dictation, recognition, and transcription assignments, and prepared singing with solfege syllables and conducting; projects as assigned. 20% Quizzes: prepared and sight singing with solfege syllables and conducting; melodic, harmonic, and rhythmic dictation and recognition. 20% Midterm Exam: Performance (prepared and sight singing, including conducting and solfege syllables) and dictation and recognition of melodic, rhythmic, and harmonic material. 20% Final Exam: Performance (prepared and sight singing, including conducting and solfege syllables) and dictation and recognition of melodic, rhythmic, and harmonic material.
Learning Disabilities If you need support or academic assistance because of a learning issue, you may be eligible for academic accommodations through the Counseling and Advising Center. For more information, contact the CAC at 617-747-2310, at extension 2310 on campus, or visit 939 Boylston Street.
Attendance and Participation: Consistent attendance, punctuality, preparation, and participation are expected and will be reflected in your grade. Beginning with the first scheduled meeting, attendance is required in all classes, private instruction, instrumental labs, and ensembles. Classes, labs, and ensembles are scheduled to start promptly on the hour and end at ten minutes before the hour. Late arrival is both unprofessional and disruptive.
ET 211 Continuing Ear Training 3 Syllabus
p. 2 of 5
Attendance and lateness will be recorded; beginning with the fourt h absence, 10% per absence will be subtracted from the course grade you have earned. Because there is no substitute for participation in the classroom experience, the Ear Training department does not normally distinguish between excused and unexcused absences. However, if exceptional circumstances arise due to a medical, personal, or family emergency, you should notify the Counseling Center and your instructor as soon as possible to discuss your options. If you have conflicting college obligations, discuss them with your teacher as far in advance as possible. Documentation of medical, personal, or family emergencies or college conflicts may be required in special cases where an excused absence is considered. Missing an exam may result in a grade of zero for the exam. If you will be absent from an exam due to a medical, personal, or family emergency, you must notify the instructor in advance if possible, or as soon as possible under the circumstances. Exams will be made up only in extraordinary cases, at the discretion of the instructor. Arriving late to class two t imes is equivalent to one absence fr om class. Your full attention and participation during class are expected and required. Use of cell phones, computers, or other electronic devices, reading or writing that is unrelated to the class, eating a meal, or other distractions are not allowed because they diminish your learning and are disruptive to the class. If there are special circumstances, please discuss them in advance with the instructor. If you have excessive absences, you may initiate withdrawal from the class, receiving a grade of W, or you may receive the grade of F at the end of the semester. Withdrawal policy You may withdraw from this class by completing a Student-Initiated Withdrawal from a Class form at the Office of the Registrar. The withdrawal form must be submitted to the Office of the th Registrar before the end of the 9 week of classes in Fall and Spring semesters, or the end of the th 8 week in the 12-week Summer Session. If you submit the withdrawal form by the deadline, you will receive a grade of “W” for the class. Withdrawing from a class cannot be done after the deadline The instructor will not withdraw you from the class for any reason (including absence) or submit the form for you. It is your responsibility to withdraw from the course. If you withdraw from this class, you continue to be financially responsible for the class and are not eligible for a tuition refund or replacement course. Please be aware that withdrawing from a class may affect scholarship, financial aid, and/or international student visa status. If you receive financial aid or veteran’s benefits, your eligibility for aid may be reduced by withdrawing. If you are an international student, you may jeopardize your F-1 visa status. In case of doubt about your status and options, ask the instructor, department chair and/or the Counseling & Advising Center.
Deadline for Course W ithdrawal: 4:00 PM Friday, November 6.
ET 211 Continuing Ear Training 3 Syllabus
p. 3 of 5
Berklee College of Music Class Recording Policy The use of technology in the classroom is determined by the teacher of the class. This includes using a laptop, phone, tablet, or other device to take notes, record any portion of the class, or take photographs. The College respects the privacy of individuals, as well as the creations of individuals (students, teachers, and all others), including those shared or performed in a class. As such, the audio recording of a class may be done only with the prior consent of the faculty member and, in many situations, the other students in the class as well. Students may not create a video recording of a class, except in compelling situations as determined by the teacher of the class and with the permission of the teacher and all students in the class. Class recordings are restricted for use only by the student who creates the recording. Students may not post or share the recording of a class without the written permission of the person(s) recorded and/or the creator of the intellectual content. A student who posts or shares the recording of a class without all necessary permissions will be subject to disciplinary action by the College. The College’s Acceptable Use Policy, which can be found in the Policy Handbook for Students and online at: http://www.berklee.edu/student-conduct-policies/acceptableusepolicy, states in part that "Community members are prohibited from posting on or transmitting through any online network . . . objectionable material of any kind . . ." This includes posting of class recordings without the written permission of the person(s) recorded and/or the creator of the intellectual content. In addition, the state of Massachusetts forbids the recording of private conversations without the consent of all parties. Massachusetts's wiretapping law is often referred to as a "two-party consent" law, which makes it a crime to secretly record a conversation, whether the conversation is in-person or taking place by telephone or another medium. This law also applies to secret video recording when sound is captured.
ET 211 Continuing Ear Training 3 Syllabus
p. 4 of 5
Topical Course Outline Chapter 1 a) Rhythm!. Conducting; performance; funk 16th note patterns; review of swing eighth note interpretation and triplets b) Melody!. Review of major and minor tonalities; practice method for sight singing; solfege exercises c) Harmony!. Review of cycle 5 in the major key; Aeolian mode Chapter 2 a) Rhythm!. 2/8 meter; half and double time tempos; review of common meters b) Melody!. Lydian mode c) Harmony! Lydian mode Chapter 3 a) Rhythm!. 3/8 meter; changing time signatures; review of 6/8 meter b) Melody!. Mixolydian mode c) Harmony!. Mixolydian mode Chapter 4 a) Rhythm!. Tempo, specific metronome markings; review of half and double time b) Melody!. Dorian mode c) Harmony!. Dorian mode MIDTERM EXAM Chapter 5 a) Rhythm!. 12/8 meter; sixteenth note triplets; review of changing time signatures b) Melody!. Phrygian mode c) Harmony!. Phrygian mode Chapter 6 a) Rhythm!. Isolated note patterns; half note triplet; review of 2/8 and 3/8 me ters b) Melody!. Review of all modes c) Harmony!. Melodic and Harmonic Minor Chapter 7 a) Rhythm!. 9/8 meter, even and uneven groupings b) Melody!. Mixed modality; mixed major modes, mixed minor m odes c) Harmony!. Modal interchange Chapter 8 a) Rhythm!. Review b) Melody!.. More on mixed mo dality; mixed major with minor modes c) Harmony!. Review of modal harmony FINAL EXAM
ET 211 Continuing Ear Training 3 Syllabus
p. 5 of 5
