INSTRUCTOR’S MANUAL
Fundamentals of Music Rudiments, Musicianship, and Composition Sixth Edition
Earl Henry Jennifer Snodgrass, Appalachian State University Susan Piagentini, Northwestern University
Upper Saddle River, New Jersey 07458
Copyright © 2012 Pearson Education, Inc., Upper Saddle River, NJ 07458. All rights reserved.
© 2012 by PEARSON EDUCATION, INC. Upper Saddle River, New Jersey 07458 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher.
10 9 87 65 43 21
ISBN 10: 0-13-244827-0 ISBN 13: 978-0-13-2448277
Copyright © 2010 Pearson Education, Inc., Upper Saddle River, NJ 07458. All rights reserved.
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Instructor’s Manual Contents
About the Sixth Edition What’s New in the Sixth Edition MySearchLab – Exposition Music Analysis in Context Emphasis on Listening, Composition and Performance Expanded Aural Skills Materials and Methods
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Using the Instructor’s Manual The Compact Discs
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Organization of the Text Review Sets Calligraphy A Step Further Tricks of the Trade Building Skills Exercises Creative Projects Analysis in Context Musicianship Exercises
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Other Notes on the Sixth Edition Musical Examples World Music References Traditional Western Music Chapter Quizzes Course Planning Learning Objectives
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Chapter Guides Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13
12 14 19 23 26 29 35 40 43 47 52 55 57
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WHAT’S NEW IN THE SIXTH EDITION The sixth edition of Fundamentals of Music has been thoroughly revised and expanded, yet maintains the intent of its original author Earl Henry. Virtually all topics from the fifth edition were retained, with slight reorganization of the overall format of the text. This edition includes a broader range of musical examples and styles, and revised and expanded aural skills methods and exercises. Some of the new, highlighted features of the sixth edition include: MySearchLab – Exposition Music. MySearchLab, powered by Exposition Music, provides opportunities for students to practice their skills and receive immediate feedback. We’ve developed a set of assessments for each chapter, including a pretest, post-test, and chapter review. Separate drills are also included for practice in ear training. These online assessments offer more than typical multiple choice question tests. Exposition Music format invites students to drag and drop notation on a staff, and listen to their choices. Students not only identify intervals or key signatures – they construct them. For melodic and harmonic examples, the software then produces instant audio examples so students can hear what they notate. Analysis in Context. A new feature of this edition is the inclusion of a complete score at the end of each chapter representing one of a variety of styles of music, including folk, classical, jazz, rock and musical theater. The accompanying study questions encourage students to apply the concepts from each chapter in the context of a piece of music. After students work through the study questions, we encourage class discussion and synthesis of their experiences with each score. The goal is that students see concepts in each chapter not as isolated labels, but ones that combine to inform performance and ultimately shape the listener’s experience. Chapte r
Analysis in Context Title
Composer
Page
1
Amazing Grace
Unknown (Lyrics by John Newton)
25
2
Vom Schlaraffenland
Robert Schumann
47
3
Flight of the Bumblebee
N. A. Rimsky-Korsakov
73
4
Love Me Tender
Elvis Presley & Vera Matson
107
5
Sonatina in C Major
Muzio Clementi
133
6
The Glory of Love
Billy Hill
167
7
Dashing Away With a Smoothing Iron
Traditional English Folk Song
199
8
Flow My Tears
John Dowland
237
9
The Sun Whose Rays Are All Ablaze
W. S. Gilbert & A. Sullivan
273
10
Ach lieber Herre Jesu Christ
Johannes Brahms
307
11
Will You Wear Red
Traditional American Folk Song
341
12
Prelude in C Major
J. S. Bach
371
13
They Long to Be Close to You
Burt Bacharach
409
Emphasis on Listening, Composition and Performance. The sixth edition maintains Earl Henry’s goal of
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encouraging creative composition as a means to demonstrating understanding of concepts. While it is not a manual for composers, one or more original songs or harmonizations can be the ultimate goal if all thirteen chapters are covered. Each chapter includes Creative Projects that ask students to create music and share it with the class. This can be accomplished by bringing performers to class, having their peers perform, or the instructor playing the example. Alongside this emphasis on composition is a thorough coverage of chord symbols. By the end of the text, students compose text and music (or music to a given text) through a lead sheet. The point in these studies, after all, is to help students have fun with music; the excitement that comes from creating a successful project and sharing it with the class is perhaps as important as the final written examination. Chapter
Page
Composition Related Activity
1 2
23-24 45-46
3
71
4 4 4 5 6
100 102 104-106 131 166
7 7
190 195
7
197
8 8
235 236
9 9
264 269-272
10
305-306
11
340
12
369
13
407-408
Composition of a clapping duet and two different rhythmic solos. Flute solos based on the ordering of eight melodic and rhythmic segments. Composition of (nontraditional) melodies that progress stepwise from a given pitch toward a goal. Complete a rhythmic duet. Complete a rhythmic duet. Set short verses as rhythmic solos. Compose four-measure phrases from specific instructions. Compose eight-measure melodies in given keys and with suggested interval types. Complete second voice of rhythmic duet (compound meter) Correct notation, then compose new voice to complement rhythmic line given. Compose two sixteen-measure rhythmic solos (one in simple, the other in a compound meter). Compose eight-measure melodies with given key and meter Compose eight-measure rhythmic solo for given text, then set as a melody. Compose sequences, both ascending and descending Set verses of two different poems as a sixteen-measure double period. Suggested approach is in four related phrases. Complete four different eight-measure melodic phrases using functional chords specified. Compose two different eight-measure melodic phrases using functional chords specified or supplied. Continue/Compose eight-measure periods or phrase groups both with and without supplied chords. Two different melodies are given for harmonization.
Expanded Aural Skills Materials and Methods. The expanded aural skills examples now include an introduction to movable DO solfege, scale degree numbers, and Takadimi and numeric rhythm syllables. The flexible format allows for a variety of teaching approaches and methods. This edition includes additional material for sight singing. We’ve added more short melodies to encourage student practice and performance.
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USING THE INSTRUCTOR’S MANUAL In addition to the chapter quizzes, instructors will find ideas for approaching concepts in each chapter, possible supplementary areas, and teaching suggestions. The Compact Discs. The teaching suggestions in this manual assume that students will have the CD set for use at home. Encourage students to include listening to examples as a habit when working through the text. Model the importance of making a connection between visual score and audio file by playing examples in class, or even performing examples as a class. We have completely revised and newly recorded all examples on the CD and added many new tracks. There are now 181 recorded examples spread over 137 tracks and a complete track list can be found both on the back cover of the CD booklet and also on Pages ix-xii of the text. Instructors are encouraged to use the CD for class discussion and drill, but might remember also that if other exercises are used in class, the recorded material may be assigned for homework. All Musicianship drills and dictation materials are on the CD and on the MySearchLab website. Additional ear training drills are also available on MySearchLab.
ORGANIZATION OF THE TEXT Each chapter of the text is divided into several parts culminating with skill building exercises, composition projects, and analysis in context of a complete score. Review Sets. Students need immediate and consistent reinforcement as they study the materials of music. This type of exercise, called Review Set, is intended to furnish this needed feedback. Each chapter has three or four Review Sets at more or less equal intervals. Present the material in class, then use the Review Set to let students work problems individually or collectively. There are usually two lines of problems for each item covered. Consider working the first line of problems as a class, then letting students do others on their own (in class or at home). Check the answers before moving on to the next text material. Where there are more Review Set problems than time allows to be completed, they can be assigned as homework. Most Review Sets begin with one sample problem solved. At the end of many Review Sets, students are directed to one of the Building Skills exercise Pages (see below). In addition to Review Sets, there are also assessment tools (pretest, post test, and chapter review) for every chapter on MySearchLab. Calligraphy. A wide range of music notation software is available today. We have retained instruction in hand calligraphy, however, because all professional musicians should have some basic instruction in this art. Several sections about note size and shape, stems and flags, beaming, and so on appear throughout the early chapters of the sixth edition. A Step Further. Sections labeled, “A Step Further” highlight some specialty topics. Some of these can be omitted if desired (or assigned for home study), but others do contain relevant material that is less common in popular music (the thirty-second and sixty-fourth notes, for example, and counting syllables). Tricks of the Trade. While we emphasize memorization and thorough learning throughout the text, several sections identified as “Tricks of the Trade” offer alternate methodology, shortcuts, and other learning tools. Building Skills Exercises. Like the text itself, the tear-out exercises have been edited and enlarged in scope. Each chapter has at least four Pages of exercises; some have as many as eight Pages. These Pages can be removed from the text without loss of instructional content. Creative Projects. Each chapter is accompanied by one or more Creative Projects that center on analysis, comparison, composition, or arrangement. Some instructors will not assign all Creative Projects. Remember, however, that some in the series are designed for the eventual goal of original composition. If this is a course aim, consider assigning all of the projects.
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Analysis in Context. As discussed above, the Analysis in Context section offers students the opportunity to practice newly learned terms and concepts in the context of a complete score. Recordings of these pieces are found on the CD, but the class may also wish to perform from these scores. Musicianship Exercises. The Musicianship exercises represent a sampling of skills needed for music study at the college level. Most of them are recorded either on the Web site or the accompanying CD. While fingering patterns for the major scales (one octave) are included in the text, patterns for minor scales are on the MySearchLab website. OTHER NOTES ON THE SIXTH EDITION While we have expanded the size of text to offer more student work space in the sixth edition, we have also reorganized and adapted some materials. For example, the chapter, “Modes and Other Scales” from the fifth edition has been moved to the online site in order to make room for the Analysis in Context exercises. We have also added instruction on diatonic and chromatic half steps to Chapter 3 – The Keyboard. In addition, Chapter 12 - Seventh Chords has been expanded to include all types of seventh chords. Musical Examples. We maintained most musical examples from previous editions, which represented Western folk tunes and traditional “classical” literature. In addition, we’ve added some pop, rock and American musical theater examples in order to represent a variety of musical styles and composers. As you move forward in the text, we encourage you to review examples that appear in earlier chapters to supplement class activities. This scaffolding of concepts builds a deep ownership of a piece as you use it to study related concepts throughout a course. For example, we can first view a score first to practice note reading in bass and treble clefs, later return to focus on melodic line and cadence, and eventually cadence types and form. After multiple views of that score, the student moves from a surface level view point as a mere ‘exercise’ of note reading, to a more formal representation of the structure by the end of the term. World Music References. There are frequent references in the text to the music of other world cultures. These are self-contained and intended only to make students aware that outside the West, not every meter is limited to three or four beats and not every scale has seven pitches. Instructors might supplement these references, or just let them stand-alone. You might play Indonesian gamelan music as an example of exceptional scale construction and longer metric patterns; African drumming to illustrate layering and ostinato; and Japanese shakuhachi flute solos as examples of alternative scales and approaches to tone quality Traditional Western Music. In keeping with Henry’s intent, we have maintained the term “traditional Western music” in this text to avoid comparisons between “art” and “pop,” for example. While the ethnomusicologist’s divisions of folk/art/pop have some value, the point of the text is to build an understanding of how music is organized and enjoyed in the West—regardless of style. However, this approach does not preclude discussions of differences among musical systems. Play a recording of music from India, for example, with a discussion of keyboard (Chapter 3) to emphasize that our divisions are merely choices to help explain why Western music sounds like it does. Likewise, a recording of African drumming will help illustrate the relative simplicity of our metric system. But most important, the emphasis on traditional Western music as a familiar system will help students understand that whether the music is folk, art, or pop, the materials and their organization are more common that they are different. Chapter Quizzes. There are two quizzes in this manual for each chapter. Instructors are at liberty to duplicate quizzes and other pages in the Instructor’s Manual as they see fit. Two quizzes are provided so that instructors may offer make-ups or test twice on the same material. In most cases, test problems are quite similar. These quizzes are offered in addition to the online materials provided on MySearchLab – Exposition Music. The online quizzes are not a mere paper version of the online assessments. Course Planning. Because students choose basic music courses for many different reasons, Fundamentals of Music is designed to accommodate a variety of course plans. The sixth edition maintains the creative emphasis started in the fifth edition, with composition projects. It adds an expanded emphasis on musicianship skills with more sight singing and aural drill practice examples. Whether your fundamentals course is designed as a preparatory course for music majors, or an introductory course for non-majors,
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materials can be strategically selected (or omitted) for your purposes, and not lessen the effectiveness of the text. Fundamentals of Music is designed to fit a single sixteen-week semester. Some of the thirteen chapters will take more class time than others. Chapters 1 and 2 might be completed in a total of four hours (assuming more advanced students). The later chapters (11, 12, and 13), however, may require four hours each. Actual course plans will vary from one institution to another and depend upon whether the Musicianship exercises are included and how much emphasis is placed on performance of student compositions. In general we suggest this plan for a complete coverage of the text. The plan includes 45, rather than 48 hours assuming a final exam week.
CHAPTER CHAPTER 1: NOTATING RHYTHM CHAPTER 2: NOTATING PITCH
CLASS HOURS 2 2
CHAPTER 3: THE KEYBOARD CHAPTER 4: SIMPLE METERS CHAPTER 5: MAJOR SCALES AND KEYS CHAPTER 6: INTERVALS CHAPTER 7: COMPOUND METERS CHAPTER 8: MINOR SCALES AND KEYS CHAPTER 9: INTRODUCTION TO FORM CHAPTER 10: TRIADS CHAPTER 11: CHORDS AND SYMBOLS CHAPTER 12: TONALITY CHAPTER 13: HARMONIZATION
3 3 3 4 3 4 4 4 4 4 4
Learning Objectives Chapter 1 – Notating Rhythm 1.1 Identify note/rest values and time signatures 1.2 Notate a musical passage with appropriate barlines and beaming 1.3 Understand rhythmic values within the context of a musical passage 1.4 Complete musical passages with various rhythmic values Key Concepts: tempo, rhythm, measure, notation, barline, time signature Chapter 2 – Notating Pitch 2.1 Identify and/or notate pitches and clefs on the appropriate staff 2.2 Identify and/or notate pitches based on octave designation 2.3 Aurally identify variance in pitch 2.4 Notate pitches correctly on staff using appropriate stem and flag direction 2.5 Notate musical examples in various octaves 2.6 Discuss the differences between 32-bar song form and 12-bar blues form in jazz compositions
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Key Concepts: staff, pitch, ledger lines, octave, octave designation, clefs, register Chapter 3 – The Keyboard 3.1 Locate various pitches on the keyboard 3.2 Identify intervals in terms of half step and whole step 3.3 Notate accidentals on staff 3.4 Identify and/or notate enharmonic pitches Key Concepts: design of keyboard, whole step, half step, enharmonic pitches, accidentals, flat, sharp, and natural Chapter 4 - Simple Meters 4.1 Describe various metric accents, including simple meter and compound meter 4.2 Describe the basic metric patterns of simple meter in terms of duple, triple, and quadruple meter 4.3 Perform rhythmic passages written in simple meter 4.4 Identify simple meter when given musical passage 4.5 Identify subdivisions of beats for various simple meters 4.6 Understand and perform examples of syncopation 4.7 Perform rhythmic passages using counting syllables 4.8 Transcribe rhythmic passages to other simple meters using other units of beats Key Concepts: meter, beat division, beat subdivision, duple meter, triple meter, quadruple meter, syncopation, accent Chapter 5 – Major Scales and Keys 5.1 Notate a major scale when given various tonics 5.2 Identify scale degrees 5.3 Recognize major scales when played 5.4 Perform major scales at keyboard 5.5 Identify and/or notate major key signatures 5.6 Describe the Circle of Fifths 5.7 Sight sing scale and stepwise patterns using solfege and/or numbers Key Concepts: scale, scale degree, major mode, key signature, transposition, solfege
Chapter 6 – Intervals 6.1 Identify and/or notate intervals on the staff (both size and quality) 6.2 Correctly place intervals in terms of location on keyboard 6.3 Recognize intervals when played 6.4 Notate intervals when given inversion 6.5 Identify intervals within a musical context Key Concepts: interval, interval quality, interval size, interval inversion, compound interval Chapter 7- Compound Meters 7.1 Describe basic metric patterns of compound meter - duple, and quadruple meter 7.2 Determine note values in compound meter 7.3 Perform rhythmic passages written in compound meter 7.4 Identify compound meter when given musical passage 7.5 Identify subdivisions of beats for various compound meters 7.6 Perform rhythmic passages using counting syllables 7.7 Notate in compound meter with appropriate barlines and beaming 7.8 Describe borrowed division and identify uses in various meters Key Concepts: compound meter, borrowed division, triplet, and duplet
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Chapter 8- Minor Scales and Modes 8.1 Notate a minor scale when given various tonics 8.2 Identify scale degrees within a minor scale 8.3 Identify all three types of minor scales 8.4 Recognize minor scales when played 8.5 Perform minor scales at keyboard 8.6 Identify and/or notate minor key signatures 8.7 Describe the Circle of Fifths in terms of minor keys 8.8 Describe the relationship between parallel and relative minor keys 8.9 Sight sing scale and stepwise patterns using solfege and/or numbers Key Concepts: harmonic minor, natural minor, melodic minor, relative relationships, parallel relationships Chapter 9-Introduction to Form 9.1 Describe phrases and cadences in terms of terminal and progressive 9.2 Describe motivic development in terms of repetition, variation, contrast, and sequence 9.3 Describe and identify periods and phrase groups 9.4 Describe the following forms: Da Capo, Verse and Refrain, and Thirty- two bar form Key Concepts: form, phrase, cadence, terminal cadence, progressive cadence, and motive Chapter 10-Triads 10.1 Identify and/or notate major, minor, augmented and diminished triads on the staff 10.2 Describe arpeggiation 10.3 Recognize triad quality when played 10.4 Describe and notate inversions of triads 10.5 Notate and identify both closed and open position of triads in both inversions 10.6 Sight singing major and minor triads 10.7 Perform major and minor triads at keyboard 10.8 Identify uses of triads within a musical context Key Concepts: triad, arpeggiation, qualities of triad, open vs. closed position, root and root position, inversions Chapter 11-Chords and Symbols 11.1 Identify chords within a musical context 11.2 Recognize chord quality when played 11.3 Identify chords with varied spacing and doubling 11.4 Notate chords when given popular chord (lead sheet) symbols 11.5 Analyze chords using popular chord symbol 11.6 Notate chords when given roman numeral 11.7 Analyze chords using Roman numerals 11.8 Notate chords using figure bass symbols for inversion 11.9 Analyze chords using figured bass symbols Key Concepts: spacing, doubling, popular chord symbol, roman numerals, figured bass Chapter 12-Tonality 12.1 Describe texture in a musical composition 12.2 Identify active and stable pitches within a musical context 12.3 Sight sing short passages focusing on tendency tones 12.4 Describe tonic, predominant and dominant functions 12.5 Identify function of chords within a musical example 12.6 Analyze seventh chords with roman numerals and lead sheet symbols 12.7 Identify triads and seventh chords when played Key Concepts: texture, active pitch, stable pitch, dissonance, function, seventh chord Chapter 13-Harmonization 13.1 Describe authentic, deceptive, plagal, and half cadences
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13.2 Identify cadences within a musical excerpt 13.3 Notate cadences in various keys 13.4 Describe harmonic rhythm and how it is used in a musical composition 13.5 Identify non-chord tones (neighbor and passing tones) 13.6 Harmonize a given melody with phrase structure, harmonic rhythm, cadences, and chord function Key Concepts: authentic cadence, deceptive cadence, plagal cadence, half cadence, harmonic rhythm, nonchord tone
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Chapter 1 Notating Rhythm As notated in the opening paragraphs, the text seeks to discuss musical elements used in all genres of Western music, including classical, jazz, pop, and folk. Although the text includes many examples of music literature, we encourage the instructor to bring in musical examples that are currently being played or listened to by your students. One of the best ways to master notating rhythm is to perform rhythm. We highly encourage performance of all of the examples presented in this chapter. Note Values (Page 2) The note value “tree” is one of the best tools used for students to understand the relationship of each note value. Before the discussion regarding beats, it is imperative to spend class time talking about the relationship between values. Ritardando (Page 3) Take the time to introduce musical examples of ritardando and accelerando. If your classroom is equipped with a computer, YouTube provides the opportunity for students to see and hear a performance. This encourages great conversation. Ritardando Bach, Jesu, Joy of Man’s Desiring Debussy, Rêverie Puccini, O mio babbino caro Menken, Beauty and the Beast Accelerando Tchaikovsky, 1812 Overture Marcello, Quella Fiamma Dexy’s Midnight Runners, Come On Eileen Performance (Page 8) Many students will be familiar with time signatures using the quarter note as the main unit of beat. In order to understand other note values as beat units, spend more time performing the exercises using the half note and eighth note. Completion of Measures (Page 9) A type of exercise common through the chapters on rhythm and meter asks students to study four-measure phrases and to determine whether or not individual measures are complete. If not complete, they should add one note or rest as directed. This often requires the students to compute dot values. Musical Phrase (Page 11) This brief introduction to the notion of the musical phrase is discussed in great length in chapter nine. Beams and Flags (Pages 16-17) The brief discussion of beams and flags as used in vocal and instrumental music is not discussed in the text. Some instructors may want to mention this difference. The principles of correct beaming may need additional explanation. Have students compose a short musical example using incorrect beaming and ATTEMPT to perform the examples as a class. Typically this fun exercise demonstrates the essential need for correct beaming! Building Skills (Pages 19-22) Building Skills 1-1 includes problems involving values as small as onequarter beat, although there is no discussion of beat division or subdivision. Approach these lines as exercises in counting beats and fractions of beats. Discussion on counting methods is presented in chapter four. Building Skills 1-2 is largely an exercise in calligraphy, encouraging students to rewrite entire measures to indicate proper beaming or complete measures. Be sure to explain vertical alignment to students with numerous in-class examples.
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Creative Projects (Page 23) This exercise does not include beat division and students might be reminded to use only beat and multiple-beat patterns. Emphasize the importance of repetition and variation. If time permits, choose a few of these solos and copy or scan for the class. Students will quickly see the advantages both of simplicity and accurate calligraphy. Analysis in Context (Page 25) For each Analysis in Context exercise, a complete performance is available on the accompanying CD. The streaming audio is also available on MySearchLab. Before beginning the assignment, remind students to listen to the performance several times. Side note! Stem placement, in terms of placement on the actual staff, is not presented until chapter 2 (Page 29.) For this assignment, students should not be responsible for correct stem placement in terms of staff position until the second chapter, unless the instructor would like to include this information earlier. Answers to Analysis in Context, Chapter 1: 1. ¾ 2. Quarter note equals one beat 3. Half note 4. No 5. Nine and Eleven 6. Six 7. Quarter note 8. Ten 9. Tie 10. Sixteen MySearchLab Each chapter of the text corresponds with a pretest, posttest, and chapter review test made available within MySearchLab. Encourage students to take the pretest prior to chapter introduction so that each student can compare their increase in knowledge with the corresponding posttest. The twenty questions available on the chapter review test are similar to those questions found in the building skills sections of the text; however, students are afforded immediate feedback at the conclusion of the test.
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Chapter 2 Notating Pitch Many important, fundamental concepts are included in this chapter: pitch notation, clefs, stem placement, the octave, and introduction to ear training. Information regarding C clefs can be found in Appendix C beginning on Page 419. This chapter introduces pitch placement. Octave identification is presented in chapter 3 (Page 52). Pitch Placement (Page 28) Have students hum along with the recording on track 10. By singing along with the movement, students will have a better understanding on how pitches change based on placement on the staff. Many students will need to memorize the names of the lines and spaces for both the treble and bass clef. Take the time in class to recite the patterns together. (EGBDF, FACE, GBDFA, and ACEG). Many websites and smart phone applications are available to help students quickly master the naming of pitches on the staff. Some of the most popular include teoria.com, musictheory.net and Smartphone apps such as Music Theory Pro and Music Theory Flashcards. Consider including timed note naming “quizzes” into your syllabus at this point in the study. Stem Direction (Page 29) After discussing appropriate stem direction, return to the Analysis in Context exercise in chapter 1 (Page 25). Several stems are incorrect in this example. Have students rewrite each pitch that is incorrect in terms of stem direction. “Simple Gifts” is provided in the key of G major to illustrate stem direction not available in C major. Accordingly, instructors may or may not want to explain the F# in measure 5. The Octave (Pages 33-34) The concept of the octave is crucial. Consider dividing the class into two groups to sing harmonic as well as melodic octaves. Stress the feeling of stability; compare the octave with less stable intervals played on an instrument. After listening to Track 19, consider playing the example without the octave sign in order for students to hear the difference. Musicianship 2-1 (Page 37) This introduction to ear training is essential for musicians of all levels. Encourage your students to sing several pitches on the piano before beginning the exercise. If the student is having difficulty in determining which pitch is higher or lower, encourage them to sing back the pitches played. Some students may prove to be embarrassed by this exercise, so consider integrating the kazoo. Many students are less intimidated to “sing” into the kazoo and the results are similar. All of the exercises presented on track 21 are shown below. It is up to the instructor if they would like to use the CD audio examples for ear training or play them individually in class. Students can and should use the CD for additional practice outside of class. Answers to all musicianship exercises are included in appendix D. Additional ear training exercises are available on MySearchLab.
Musicianship 2-1, Ear Training: Pitch Discrimination
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Musicianship 2-1, Ear Training: Pitch Discrimination (continued)
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Building Skills (Pages 39-44) Building Skills 2-1 includes identification of pitches, both with and without ledger line notation. Additional practice in calligraphy is given to allow students to practice correct stem placement in terms of pitch placement on the staff. Building Skills 2-2 focuses on transposing a given line up and down an octave. Students are given the opportunity to use ledger lines of the octave sign. Creative Projects (Pages 45-46) Like Building Skills, the creative project is largely for practice in calligraphy. Students can arrange the eight patterns with quite different results. Playing a few of these in class (preferably on the flute) is essential to make the point that order is crucial in composition. For another twist, mention aleatoric music and devise a random means of ordering the segments. Stress that random patterns usually sound random to Western ears if they lack anticipated ending points. In giving instructions for this project, be sure to emphasize the value of repetition. Analysis in Context (Page 47-48) For each Analysis in Context exercise, a complete performance is available on the accompanying CD. The streaming audio is also available on MySearchLab. Before beginning the assignment, remind students to listen to the performance several times.
Answers to Analysis in Context, Chapter 2:
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5. Measures 2, 5, 7, 10, 15, and 16 6. Grand staff (see label in score) 7. Measures 1-15; middle C is the most frequently occurring; others are B and D MySearchLab Each chapter of the text corresponds with a pretest, posttest, and chapter review test made available within MySearchLab. Encourage students to take the pretest prior to chapter introduction so that each student can compare their increase in knowledge with the corresponding posttest. The twenty questions available on the chapter review test are similar to those questions found in the building skills sections of the text; however, students are afforded immediate feedback at the conclusion of the test.
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Chapter 3 The Keyboard Perhaps one of the most valuable tools in teaching music theory, the keyboard is presented in a visual manner throughout this chapter. (A foldout keyboard is provided in the back of the text to encourage kinesthetic ties to this material in a traditional classroom.) Acoustics (Page 49) In order to better understand acoustics, all information regarding the principles of frequency, sound, and overtones are included in Appendix A (Page 413). Octave Placement and Designation (Pages 51-52) When discussing octave placement, be sure to play through the octaves on the keyboard with your class. Particular emphasis should be given to the repeated pitches at the octave. Many students will be comfortable with octave identification while some students will not understand the need for the process. Spend some time in class discussing why it is important for all musicians to have a common language and vocabulary. Musicianship 3-1 (Pages 55-57) Many instructors will not be able to teach a course in a fully equipped piano lab; however, the keyboard exercises presented in this and future chapters can be practiced using one instrument. Have students come up to the piano in pairs to practice the five-fingered patterns shown. Students will have a fun time improvising together! If a keyboard is not readily available, encourage your students to download a keyboard app on a smart phone. You can also use the foldout keyboard in the back of the text for kinesthetic reinforcement of these skills. Accidentals (Page 57) The musical excerpt by Liszt indicates the importance of cancelling accidentals. Track 25 clearly exhibits this principle. Musicianship 3-2 (Page 64) Before attempting to understand how to identify whole and half steps aurally, have students perform whole and half steps on the piano or on the kazoo. The exercises given in musicianship 3-2 can easily be transposed to various keys. All of the exercises presented on track 26 and 27 are shown below. It is up to the instructor if they would like to use the CD audio examples for ear training or play them individually in class using the answers. Students can and should use the CD for additional practice outside of class. Answers to all musicianship exercises are included in appendix D. Additional ear training exercises are available on MySearchLab.
Musicianship 3-2: Ear Training – Hearing Half and Whole Steps Predominantly Half Steps
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Predominantly Whole Steps
Musicianship 3-2: Ear Training – Hearing Half and Whole Steps (continued) Whole and Half Steps
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Directed Listening
Building Skills (Pages 67-70) Building Skills 3-1 includes identification of whole and half steps (both diatonic and chromatic). Students also have the opportunity to identify intervals within the context of a short, musical excerpt. Building Skills 3-2 focuses on enharmonic equivalents and notation of pitches on the staff. Students are given the opportunity to use ledger lines and the octave sign. Creative Projects (Pages 71-72) Like Building Skills, the creative project is largely for practice in calligraphy. Students are asked to link whole and half steps together in order to create a musical line. The rhythmic patterns are given in order to avoid an excessive number of note values. Be sure to play the melodies for each other during class time. Encourage students to bring their applied instrument with them
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to class for sight reading practice. Analysis in Context (Pages 73-75) For each Analysis in Context exercise, a complete performance is available on the accompanying CD. The streaming audio is also available on MySearchLab. Before beginning the assignment, remind students to listen to the performance several times. Answers to Analysis in Context, Chapter 3: 1. Two beats in each measure; a quarter note equals one beat 2. E6 3. Half step 4. Measure 23 5. Bass clef 6. None 7. Three 8. One; between the E and F# starting on beat 2 9. None 10. The quickly moving half steps emulate the buzzing sound of a bee in flight MySearchLab Each chapter of the text corresponds with a pretest, posttest, and chapter review test made available within MySearchLab. Encourage students to take the pretest prior to chapter introduction so that each student can compare their increase in knowledge with the corresponding posttest. The twenty questions available on the chapter review test are similar to those questions found in the building skills sections of the text; however, students are afforded immediate feedback at the conclusion of the test.
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Chapter 4 Simple Meters This chapter presents a performance-based approach to teaching simple meter. Instructors are encouraged to clap through the examples given, paying close attention to the counting methods given in the musicianship sections. Introduction (Page 77) One of the most effective ways to introduce the concept of simple meter is to clap along with music that is familiar. Divide the class in half and have one half of the class tap the beat while the other taps the subdivision. Choose current music from the billboard charts. This material changes every week and links to the audio are available for free from http://www.billboard.com/#/charts/hot-100. The majority of popular music is written in simple meter, although there are exceptions! Anacrusis (Page 79) Take the time to have students count along and tap with track 31. Take the time to discuss other familiar tunes that use an anacrusis (Star Spangled Banner, Happy Birthday, Amazing Grace) Notation (Page 81) Remind students that many choices in notation are largely editorial, but that all such decisions result from improved communication with the performer—always the ultimate goal. Tricks of the Trade: Using Counting Syllables (Page 83) Additional counting syllables appear on Page 94. However, for this opening exercise, we have opted to use only beat counting. Instructors may choose to introduce another counting method at this point in the text. When counting is introduced, one group can sing while another counts the beat, beat division, or beat subdivision. Performing the music as an ensemble experience increases comprehension “Grandfather’s Clock” (Page 86) Have students separate into three groups to perform “Grandfather’s Clock.” The first group will tap (or kazoo) the melody, the second group will tap (or kazoo) the beat, and the third group will tap (or kazoo) the beat division. Have each group complete one task. Complete the same task in four groups for “Old MacDonald” on Page 88. Consider having one student conduct the entire ensemble! Correct Beaming (Page 93) The principle of correct beaming can be difficult to understand until a student attempts to perform an excerpt that is beamed incorrectly. Take extra time to attempt to perform the incorrect beaming examples. Have students compose a short rhythmic exercise on the board that is beamed incorrectly and then have the class attempt a performance. Tricks of the Trade: Counting Syllables (Page 94) Three of the most common counting methods are included throughout the text, all of which are introduced on Page 94. As opposed to the beat counting method used on Page 83, the additional counting methods shown here help students to understand patterns and subdivisions. The first method (McHose/Tibbs) includes divisions and subdivisions within the framework of a specific beat. The takadimi system encourages students to think in patterns, chunking the material into a more musical manner. The final system presented is most often used in the American public school system and many students will be familiar with this particular counting style. Similar to the McHose method, it allows students to focus on the placement of each subdivision within the beat. It is up to the instructor to choose a method that is most appropriate for their particular audience; however, it is HIGHLY encouraged that instructors choose one method and use that same method throughout the remainder of the course. Additional information on the takadimi method can be found at www.takadimi.net. Musicianship 4-2, Ear Training (Page 98) All of the exercises presented on track 38 are shown below. It is up to the instructor if they would like to use the CD audio examples for ear training or play them individually in class. Students can and should use the CD for additional practice outside of class. Answers to all musicianship exercises are included in appendix D. Additional ear training exercises are available on MySearchLab.
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Building Skills (Page 99) Building Skills 4-1 and 4-2 give the student the opportunity to work with barlines and time signatures within the context of musical excerpts or composition. Students will also be able to indicate their understanding of the relationship between beat, division, and subdivision. For the composition exercise, remind students how beats should line up between the two parts. Have students perform their responses in class. Creative Projects (Page 103) Be sure to clarify the term “transcription” and make sure that students understand this is a difference in notation and not in sound. A good discussion question is whether the audience is aware of differences in notation. Encourage students to be creative on letter B and C. How many patterns can be created within the given framework and text? Have students perform their compositions with words and also with counting syllables.
Analysis in Context (Page 107) For each Analysis in Context exercise, a complete performance is available on the accompanying CD. The streaming audio is also available on MySearchLab. Before beginning the assignment, remind students to listen to the performance several times. Answers to Analysis in Context, Chapter 4: 1. 4/4 2. Quadruple
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3. Treble clef 4. Two beats 5. One beat 6. A 7. One___ Three and Four and; One___ Three te Four te; Ta___ Ta di Ta di 8. Four beats 9. Tie 10. One Two Three__ and; One Two Three__ te; Ta Ta Ta__ di MySearchLab Each chapter of the text corresponds with a pretest, posttest, and chapter review test made available within MySearchLab. Encourage students to take the pretest prior to chapter introduction so that each student can compare their increase in knowledge with the corresponding posttest. The twenty questions available on the chapter review test are similar to those questions found in the building skills sections of the text; however, students are afforded immediate feedback at the conclusion of the test.
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Chapter 5 Major Scales and Keys Several topics in chapter 5 are essential to the understanding of those found in subsequent chapters. The concept of a tonic, for example, is essential to later discussions of tonality and key. Likewise, differentiating between diatonic and chromatic half steps should precede a discussion of the major vs. minor effect. Memorization (Page 109) Encourage students to memorize the major scale pattern (WWHWWWH). This, and other formulas in music serve as the foundation for other topics. Just as one does not sound out every letter in a word, students’ musicianship should be based on ownership of these basic skills so that they are an automated part of their language. Encourage students to practice with flash cards or web-based drills found on MySearchLab. Scale terminology (Page 111) The concepts of tonic, scale degree numbers, and scale degree names are essential to later discussions of tonality, key, and Roman numerals. We as instructors can encourage ownership of these terms by using them throughout our instruction in appropriate contexts. Create opportunities for students to use the terms: write a major scale on the board. “Which pitch is the mediant in this scale?”, or “The pitch A is what scale degree? “ Transposing major scales (Page 112) Use aural skills to support written tasks. When students begin writing and transposing scales, put basic pitches A-A on the board and have students check both the written and the sound between each set of adjacent pitches. (You may also use the fold out keyboard to form kinesthetic awareness of the scale patterns.) Beginning on A, for example, play A-B and ask if the pattern is correct for the start of the major scale. Add the basic written pitch C, and play A-B-C. Students should correct the pattern (A-B-C#) and sing. Continue the process until the scale is complete. Musicianship 5-1: Ear Training - Major Modes (Page 112) As indicated in the preface to the text (Page xviii), the ear training exercises are intended to be representative of aural skills classes. Supplementary work can be done in class. This and other assessments should be taken through the MySearchLab website. Use this section a follow-up to the scale transposition exercise. Students are asked whether a 3-note pattern (1-2-3) fits the sound of the major scale. Students identify these patterns as M (major) or o (other). The sound file is found on track 44, and answers to these exercises appear in Appendix D. You can use these exercises in class or as follow-up homework. Ascending Patterns
Musicianship 5-1: Ear Training - Major Modes (Page 112) continued Descending Patterns
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Ascending and Descending Patterns
The process of building major scales based on the interval patterns will serve as the foundation for understanding key signatures as a collection of accidentals needed to inflect the basic (white) notes. Musicianship 5-2 (Page 115) Solfège. We have expanded the singing examples in the text with both scale degree numbers and moveable DO solfege as suggested methods. Keep it simple – encourage students to start by practicing the 5 note patterns based on any starting note using either system. The exercises on Pages 115-116 illustrate systems of singing scale fragments. Due to range limitations in inexperienced voices, singing complete scales may be taxing for some while natural for others. Assure students that their natural musical abilities will emerge and improve with experience. Key Signatures (Page 117) Once students demonstrate understanding of the structure of the major scale (through writing, singing, and/or aural identification) encourage memorization of the order of sharps and flats, the placement of those accidentals on the staff, and the key signatures of the fifteen major keys. In addition to tips of going up a diatonic half step from the last sharp for example, encourage simply knowing the number of sharps or flats as associated with a given tonic, i.e., (5) sharps is the key of B Major. Encourage students to make flash cards with the notated key signature on one side and the name of the major keys on the other; or one could write only the number of sharps or flats on one side, with the name of the major key on the other. Refer students to the interactive drills on uppervoices.com, or other theory web sites. Circle of Fifths (Pages 120-121) We have included an explanation of Circle of Fifths with new diagrams and information on calculating keys using this method. Because intervals of a fifth have not been introduced yet, we recommend this chart as a visual reference. You can return to this chart after chapter 6, and reflect on the structure and meaning of the circle.
Musicianship 5-3 (Page 124) Keyboard. For those instructors who prefer a more comprehensive course, we have included fingering patterns for the fifteen major scales in the text. Fingerings for minor scales are on the MySearchLab website.
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Solfege. Once students become comfortable with a system in the fragment examples in Musicianship 5-2, they will be ready to explore the longer, stepwise exercises and melodies in this section. Encourage them to keep a steady tempo, and sing lightly as they ascend in a range that is less comfortable for them. Building Skills 5-1 (Page 127) Encourage students that ownership of the major scale will be helpful to build and compare other scales they will encounter. Building Skills 5-2 (Page 129) emphasizes scale degrees in different keys. Once students are comfortable with these exercises, ask students to name the scale degree of a given pitch in a variety of keys. For example, the pitch A is scale degree 2 in G major; scale degree 5 in D major, etc. Creative Projects (Page 131) In addition to calligraphy, the most important goal for these short composition exercises is for students to use a key signature and create diatonic patterns with specified rhythms. Ask students to discuss their reasons for choosing particular pitch patterns. Encourage class performance of a variety of student phrases and provide a gentle critique. For the final item in this series, be sure to ask students to speculate about the construction. Is the first phrase complete or incomplete? Play the melody using different pitches at the cadences. Which pitches produce an effect similar to F and B-flat? Answers to Analysis in Context, Chapter 5: 1. C major 2. cut time; there are two beats in each measure and a half note gets one beat 3. octave 4. D; scale degree 2; supertonic 5. diatonic half step 6. no 7. yes; E 8. half steps 9. G; 5; dominant 10. Whole Step MySearchLab Each chapter of the text corresponds with a pretest, posttest, and chapter review test made available within MySearchLab. Encourage students to take the pretest prior to chapter introduction so that each student can compare their increase in knowledge with the corresponding posttest. The twenty questions available on the chapter review test are similar to those questions found in the building skills sections of the text; however, students are afforded immediate feedback at the conclusion of the test.
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Chapter 6 Intervals Melodic comparison of three melodies (Page 137) The opening comparison of melodies from Mozart, The Beatles and Jelinek emphasizes the universal importance of the interval as providing framework and overall character of a melody. Start by playing the Mozart and Beatles lines and ask students to comment on what they hear. Write the list for each on the board and compare. Composer
Rhythm
Range
Highest/lowest
Meter
Mozart
Slower rhythms, consistent values Dotted-eighth sixteenth, syncopation m. 7-8, rests on accented beats, repeated patterns Dotted-quarter eighth, m. 3 syncopation,
10th
E4-G5
Triple
10th
G4-B5
Quadruple
Two octaves
D4 – Db6
Quadruple
Beatles
Jelinek
For discussion in this portion of the text Mostly stepwise Mostly stepwise
Mostly leaps; many wide
Next, add the Jelinek melody as a contrast. Encourage the same types of comparisons. Students may be led to commenting that the excerpt is ‘disorganized’ because of the lack of familiarity with the style. Part of this discussion should include the idea that there are many ways to organize music, and that tonal design represents only one. Interval Size (Page 139) (Users of past editions will note the change from interval ‘type’ to interval ‘size’ throughout this edition.) A helpful guide for students should include the idea that odd-numbered (simple) intervals involve either lines or spaces while those in the even-numbered categories fall over lines and spaces. Encourage quick visual identification of interval size – a third has a distinct visual field from line-to-line or space-to-space. A fifth is similar, but has an ‘empty’ line or space between. A fourth is distinct with notes space to line, or line to space. Interval Quality (Page 142) Begin by writing and identifying a major second on the board (G-A, for example). Throughout this exercise, have students ‘play’ the same interval on their foldout piano in the text to form a kinesthetic tie to the activity. Play the interval both melodically and harmonically. Ask students how many half steps are involved between the two pitches. Next, make the A an A-flat and point out that while G-A flat is still a second, it is now narrower than before. Finally, return to the interval G-A, and then play G flat-A. Now there are three half steps in the second. The point of this activity is to emphasize that quality is a traditional label to identify sounds more precisely. Enharmonic equivalents often puzzle students who do not understand that while two intervals may sound the same, only one notation is appropriate. Suggest that spelling “cat” with a “k” (“kat”) is a similar process in spoken and written English. The two words sound exactly the same, yet we all understand that “kat” is an incorrect spelling. In music, composers choose a spelling of an interval depending on its context in a line and how the note will continue or resolve. Categories of Intervals (Page 143) Emphasize the two main categories “perfect” and “major/minor” to classify intervals. Remind students that intervals may be perfect or may be major or minor depending on size. The important point to emphasize is the exclusivity of the two categories: perfect intervals can never be altered to become major or minor; major or minor intervals can never be altered to be perfect in quality.
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Half-Step Content (Page 143) Make sure that students understand that written notation is precise. The interval C-F# sounds the same as C-G-flat, yet one is a fourth and the other a fifth. The half-step content section is summarized later in the chapter in a table on Page 151. While this information is important to an understanding of intervals, ultimately a quick method of identifying intervals should be implemented. Major-Scale Comparison (Page 143) As mentioned before, we recommend requiring students to memorize the major key signatures and approach all fundamental materials from this perspective. Counting half steps takes too long and offers the potential for error at every step. One can identify any interval by comparing it to the major scale. Begin with the lower pitch since all diatonic intervals above a scale tonic are perfect or major. Guidelines for Interval Construction and Identification. The tritone (Page 152) Briefly discuss the tritone as naturally unstable. The idea of an interval being unstable will not be readily apparent to students who judge these from their ‘modern’ ears. Compare the sound and half step content with the perfect fifth. Play the resolution of the interval to demonstrate the unstable nature of the interval. Interval exceptions (Page 153) A revised method must be used when the bottom pitch of an interval is not the starting pitch of a major scale. Encouraging use of the foldout keyboard at the end of the text can be helpful in this activity. Given the interval E# - B, the pitch E# is not a tonic note of a major scale. Temporarily visualize the interval without the sharp, E-B. This is a perfect fifth based on the E Major scale. Emphasize that the sharp ‘contracts’ the interval making it one half-step smaller. The resulting interval is a diminished fifth. Students can feel this by fingering E-B on the keyboard, and then moving their lower finger to E#. Interval inversion (Page 158) Interval inversion can often be helpful in determining the size and quality of wider intervals. For example, when given the interval C-Ab, one can invert the interval, making it Ab-C. The smaller interval is often more quickly recognized, in this case a major third. Once identified, the interval quality of the larger interval is determined as its inversion. In other words, the Major third inverts to become a minor sixth. Demonstrate this principal with a variety of interval sizes and walk them through the principals. Musicianship 6-2 (Page 145) All of the exercises presented on track 51 and 53 are shown below. It is up to the instructor if they would like to use the CD audio examples for ear training or play them individually in class. Students can and should use the CD for additional practice outside of class. Answers to all musicianship exercises are included in Appendix D. Additional ear training exercises are available on MySearchLab.
Musicianship 6-2 (Page 145) Perfect Intervals
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Musicianship 6-3 (Page 155) Major and Minor Seconds
Musicianship 6-3 (Page 155) Major and Minor Thirds
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Major and Minor Seconds and Thirds
Musicianship 6-3 (Page 155) Perfect Intervals, Seconds and Thirds
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Building Skills 6-1 (Page 159) In addition to typical interval identification and construction exercises, Building Skills 6-1 (Page 160) includes interval identification within the context of melodies. Use melodies from other chapters throughout the text as class activities. Ask students to identify the meters, indicate which pitches are diatonic and non-diatonic, identify the interval between consecutive pitches, and so on. Creative Projects (Page 165) One of the goals of this exercise is to help students view music as a line instead of consecutive intervals. The question, “How many different interval types occur in this melody?” may have two or more correct answers depending on whether reiterations are counted as unisons or as the same pitch (and discounted). Instructors might give additional instructions depending on how they want the exercise approached. For the composition exercise (project B, Page 165), help students understand that where a crucial interval occurs (on a strong beat, in the middle of a phrase) may be more important than how many fifths or sixths are used. Some students will construct nontraditional melodies for this exercise. If some student phrases can be played in class, differences will be better appreciated. Analysis in Context “The Glory of Love” (Page 167) The study questions ask students to identify specific intervals in given measures. Class discussion should follow this assignment, putting the results into context of the phrases of the piece. The use of seconds vs. thirds, along with the rhythmic elements act to shape the various sections of the song. In addition, the gradual growth process of the initial lines of text in measures 1-3 (d-b; d-c; d-d) is a salient characteristic of this tune. Encourage students to reflect on how the melody evolves from phrase to phrase.
Answers to Analysis in Context, Chapter 6: 1. P8 2. M3 3. m3
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4. m2 5. two 6. two 7. P5 8. M3 9. unison 10. m2 MySearchLab Each chapter of the text corresponds with a pretest, posttest, and chapter review test made available within MySearchLab. Encourage students to take the pretest prior to chapter introduction so that each student can compare their increase in knowledge with the corresponding posttest. The twenty questions available on the chapter review test are similar to those questions found in the building skills sections of the text; however, students are afforded immediate feedback at the conclusion of the test.
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Chapter 7 Compound Meters This chapter presents a performance-based approach to teaching compound meter. Instructors are encouraged to clap through the examples given, paying close attention to the counting methods given in the musicianship sections. Introduction to Compound Meters (Page 169-170) Similar to the approach in chapter 4, begin talking about compound meters by using pieces that the students have heard several times, whether on the radio, TV, or in the recital hall. Some examples to include that are readily available on YouTube include: “Memory” from Cats “Unchained Melody” “Greensleeves” “Lacrimosa” from Requiem “Pastoral Symphony” from Messiah “Hallelujah” by Leonard Cohen Remind students that in compound meters, parts of beats are more often thirds and sixths rather than halves and quarters. By showing the basic patterns that occur in compound meter, students will be able to understand how division is accomplished in compound meter. Compound Time Signatures (Page 171) When discussing compound time signatures, remind students that any time signature with a 6, 9, or 12 as the top number is a compound meter signature. The number of beats per measure is quickly understood by dividing that top number by 3! Remind students that the bottom number represents the division. In order to find the note value that equals one in compound meter, double the note value and add a dot. For example, in 6/8 time if you double an eighth note and add a dot your result would be a dotted quarter, the “beat” in 6/8 time. Subdivision in Compound Meter (Page 174) In order for students to understand the principle of subdivision in compound meter, consider creating a note value tree similar to that presented on Page 2 of the text. By visualizing the relationship (and the division of the beat into 3 equal parts), students will understand the fundamental differences between compound and simple meter. Counting in Compound Meter (Page 178-179) Similar to the counting methods presented in chapter 4 (Page 94), the compound meter counting systems follow the same methods of counting beats and the subdivision (McHose method) or pattern recognition (takadimi). The American method has been removed from this chapter so that students will not be tempted to focus on subdivisions rather than the beat. For example in 6/8, many students would count 1 and 2 and 3 and 4 and 5 and 6. This method does not clearly articulate the division into 3 equal parts. The McHose method and takadimi use different syllables for compound meter, and therefore students are able to clearly see the distinction. Takadimi uses a separate syllable for each subdivision while the McHose Method separate the division with the syllable “ta.” It is up to the instructor to choose a method that is most appropriate for their particular audience; however, it is HIGHLY encouraged that instructors choose one method and use that same method throughout the remainder of the course. Additional information on the takadimi method can be found at www.takadimi.net.
Performance is one of the best ways for students to understand the concept of compound meter. Spend time going through the rhythmic exercises presented in Musicianship 7-1. Have students conduct while they say the rhythmic syllables or have the students move side to side, feeling the beat as they sing the syllables together. Students can be broken up into two groups in which one group claps the beat while the other group taps or speaks the rhythm.
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Borrowed Division (Page 182) Introduce the concept of borrowed division by performing a simple pattern and asking students to substitute a group of three notes in the fourth measure for the two eighths in the second measure.
Suggest to students that the rhythms are easy and natural; notation is the problem (since with the three eighth notes there are too many beats in the measure). The triplet can then be introduced simply as a special marking for a rather familiar pattern. By using the counting methods, students will be able to understand how borrowed division uses groupings from the other meter. Page 186 offers examples of counting methods using borrowed division. Before attempting the review set in this section, have students practice counting. The notation will be clearer after the student performs the examples given. Musicianship 7-2, Ear Training (Page 188) The examples below are not available on the audio CD. The instructor can play them individually in class for assessment and discussion purposes. It also may be an option to hand out the melodies to a student and have a student play them on their applied instrument. Answers to all musicianship exercises are included in appendix D. Additional ear training exercises are available on MySearchLab.
Musicianship 7-2, Ear Training (Page 188) Duple Meters
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Musicianship 7-2, Ear Training (Page 188) Triple Meters
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Building Skills (Pages 189-192) These exercises are drill and mostly self-explanatory. Several of the exercises include audio from the CD, so encourage your students to listen to the excerpts before attempting to insert barlines. On Exercise D (Page 190), remind students of the lead and accompanying roles, respectively, of the two lines. The lower line is an accompaniment, but suggest that where eighth notes occur in the lower line, the upper might rest or include a longer value. Help students see this exercise as three four-measure phrases. The first and third should be about the same with the second contrasting. Play the lower line on the piano with students performing the upper part as composed by their colleagues. Emphasize calligraphy and vertical alignment. Creative Projects (Pages 195-199) The result of project A (Page 195) will be a duet. Students begin by revising the notation of the given line to reflect traditional beaming in compound meter. No instructions are given for the composition of the lower line. Encourage students to avoid random patterns. Warn students to avoid intricate rhythms in their newly-composed part. Have students perform the compositions using both
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rhythmic syllables and/or instruments. Project B (Page 196) is a transcription. The third project on Page 197 is an open-ended rhythmic solo in different meters that can be shared with the class. Emphasize repetition and variation. Analysis in Context (Page 199) English Folk Song “Dashing Away With The Smoothing Iron” For each Analysis in Context exercise, a complete performance is available on the accompanying CD. The streaming audio is also available on MySearchLab. Before beginning the assignment, remind students to listen to the performance several times. After the students complete the assignment, clap and intone the rhythm syllables of the song. Another exercise is to tap the division of the beat along with the recording; when they are comfortable with this, direct students to move to different levels of rhythm hierarchy (from dotted quarter to eighths to sixteenths). Answers to Analysis in Context, Chapter 7: 1. E-flat major 2. 5–1 or sol–do 3. Compound duple 4. Dotted quarter note 5. Dotted quarter followed by an eighth note 6. Ta da OR One le 7. No 8. P4 9. m3 10. M2 MySearchLab Each chapter of the text corresponds with a pretest, posttest, and chapter review test made available within MySearchLab. Encourage students to take the pretest prior to chapter introduction so that each student can compare their increase in knowledge with the corresponding posttest. The twenty questions available on the chapter review test are similar to those questions found in the building skills sections of the text; however, students are afforded immediate feedback at the conclusion of the test.
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Chapter 8 Minor Scales and Keys While the difference between the major and minor effects was emphasized in Chapter 5, a focus in the present unit can be on the difference between a subtonic and a leading tone, and of understanding the three forms of minor and the reasons behind them. Having students memorize the whole- and half-step pattern for the natural minor scale is recommended only as a first step to learning. As with other materials in this text, we recommend that students memorize the fifteen minor key signatures. Help students understand that they are already familiar with the sound of minor keys. Play familiar tunes in minor, then the same tunes in major. “We Three Kings,” “Hava Nagila”, or “When Johnny Comes Marching Home” are three useful examples. Likewise, play a familiar melody in major, and then perform the same melody in natural minor. Perform major and minor versions of other melodies and ask students which is the familiar one. Whole- and Half-Step Pattern (Page 203) Have students learn the pattern and compare it to the one learned for major. Show students how this scale is simply a rearrangement of notes and as a result whole/half-steps. Remember to have students listen and sing to reinforce the visual score! The Parallel Relationship (Page 204) We’ve moved the parallel relationship to the beginning of this section, as many students find it easier to relate the construction of the minor scale as an alteration of the major scale. Transposing Minor Scales (Page 204) Use the same kinesthetic/aural process used for major scales in chapter 5. Do an example on the board that begins with the basic pitches D to D. Work up the scale, asking students if the note pattern follows the whole step/half step expectations, and adjusting notes as needed to match that pattern. Have students follow by fingering on the foldout keyboard and listening as you play the two notes. Minor Key Signatures (Page 206) Our emphasis on major and related minor keys comes from a time (ca. 1650-1875) when major and minor were employed as virtually the only choices. Explain that we can have other relationships in music today (major and Lydian; minor and Phrygian, and so on). Remind students that if they memorize the minor key signatures, finding relative majors and minors will be much easier—without the tedious counting as discussed. Students regularly falter at this point in the course for two basic reasons: (1) they have not memorized the major key signatures, and/or (2) when they begin to associate relative and parallel majors and minors, they confuse the processes. The text material and exercises are designed to establish a step-by-step approach to avoid such confusion. Circle of Fifths in Minor Keys (Page 210) Review the circle of major keys (Page 121), then show students that the same principles work with minor. Knowing the pairing of major and minor keys associated with each key signature is important. Students may also work towards knowing the major key signatures and being able to quickly find the relative minor from that information. Musicianship Exercises (Page 211) Musicianship 8-1 is a five-finger exercise on scale degrees 1-5, the basis of all three forms of minor. Fingering patterns for minor scales are available on MySearchLab. Variants of Minor (Page 212) Many students will have an understanding of the three forms of minor from previous ensemble experience or from private lessons. Rarely, however, are forms of minor presented as choices. First, help students understand that major and minor are only two of many choices. To illustrate this, play “America” in C major and then in C natural minor. Now play the tune in Mixolydian, Phrygian, and Lydian modes. Next, play “America” in minor first without, then with a leading tone. Ask students which version gives a clearer sense of emphasis on the pitch C. While we have not used the term in the text, show the concept of a “complete” minor scale (with lowered and raised sixth degree as well as lowered and raised seventh). Write this “complete” minor scale on the board:
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Now discuss goals as the fifth scale degree and the tonic pitch. Begin with as ascending series and mark arrows from the pitch G through A♮, B♮, and C. Ask students to sing these pitches. Now explain that if the series does not ascend, neither the raised sixth or seventh is needed. F-A♭-C and G-B♮-D, the A♭ and the B♮ can be set in different voices. The “melodic” form is used when the leading tone would be preceded by the natural sixth scale degree. Finally, help students understand that all three forms of minor may appear consecutively and even simultaneously in different voices. Composers write in D minor, for example, and not in D natural, melodic, or harmonic minor. Musicianship 8-2 (Page 219) asks students to discern between major and minor using scale degrees 1-5. Answers for these exercises appear in the back of the text so that students may use these for practice. Exercises B and C (Page 220) are on the MySearchLab site and not on the CD. These exercises center on scale degrees 1-5 in major and minor keys. Exercise C deals with the upper tetrachord (a term not used in the text) of the minor scale (5-6-7-8). Students are asked to differentiate between a leading tone and a subtonic. A sampling of the exercises presented on track 77 is shown below. It is up to the instructor if they would like to use the CD audio examples for ear training or play them individually in class using the notation shown below.
Musicianship 8-3 (Pages 220-222) begins as a series of sight singing drills on scale degrees 1-5 in minor keys. Later examples in this section include short, stepwise melodies in major. Encourage students to use a pitch source such as piano to find the starting pitch and check the last pitch. Often playing a tonic drone as they practice will help students maintain the original key in the exercise. Creative Projects (Page 235) These lines include given pitches to guide students to the appropriate cadential choices. Remind them that they should maintain the given motive, but that other rhythms are possible. For the text setting (Page 236) suggest to students that they should make each line of text four measures in length (they may consider an anacrusis). Working out the rhythmic plan is a good first step,
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followed by melodic line in the minor mode. Do a sample in class that emphasizes the tonic and dominant scale degrees, ending on the tonic. Use repetition as an organization tool and to streamline their work. Be sure to play or sing several in class and let students serve as supportive critics. Expect that some melodies will not be tonal since the finer points to structure have yet to be discussed. Analysis in Context (Page 237) Encourage students to listen to the audio file for “Flow My Tears” as they complete the study question assignment. Engage the class in a discussion of their answers to the study questions, playing the selected measures. Lead a discussion asking students to consider how the mode, rhythm and melodic choices portray the meaning of the text. Answers to Analysis in Context, Chapter 8: 1. A minor 2. melodic minor 3. F# and G# throughout much of the piece, particularly in ascending melodic lines 4. simple duple 5. half note 6. Ta di__ ka di 7. M2 8. C major 9. Relative major; no - G# and it starts on “do” of the relative major key 10. Ta mi Ta ka di MySearchLab Each chapter of the text corresponds with a pretest, posttest, and chapter review test made available within MySearchLab. Encourage students to take the pretest prior to chapter introduction so that each student can compare their increase in knowledge with the corresponding posttest. The twenty questions available on the chapter review test are similar to those questions found in the building skills sections of the text; however, students are afforded immediate feedback at the conclusion of the test.
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Chapter 9 Form The study of form is included in Fundamentals of Music as a means to encouraging students to think of the cumulative relationships among elements of music that make up a piece. Building Phrases (Page 241) Emphasize that a phrase is complete, but may or may not have a definitive effect. Phrases end with cadences. Explain to students that we can formulate guidelines about melodic cadences, but that melodic, metric, and harmonic elements work together to clarify whether the effect is final or intermediate. Progressive and Terminal Cadences (Page 241-242) In identifying phrases as terminal or progressive, stress the duality of the first and third degrees. Emphasize that the tonic pitch is the strongest, but that we also hear the third degree as relatively final. That being said, explain that all other pitches used as a cadence have a less definite (progressive) effect. Stress the fact that the cadential pitch usually coincides with a strong beat. Write the first two phrases of a melody on the board and ask students to choose either a terminal or progressive cadence. Now, write the cadential pitch and have students fill in the third measure to provide an interesting and stepwise approach to the cadence. Use this model for both terminal and progressive cadences:
Unifying and Extending Phrases (Page 244) These studies are mostly self-explanatory. On Page 245, contrast the Beethoven and Ritchie cadences in terms of metric placement. Beethoven’s is clear-cut and occurs on the first beat of the measure. In “The Magic of Love,” the pitch B♭ is on its way to the next phrase. The fourth scale degree is unusual, in fact, as a cadential point. Remind students that the fifth scale degree is associated with a progressive effect. Sequence (Page 246) Use examples of diatonic sequence to provide students with a strong basis for their own composition. Provide one measure (the first sequential “leg”) and ask students to create a sequence. The choice of a progressive or melodic cadence will determine the direction of the cadence. Explain that they may need to vary intervals in the third leg to smoothly lead to the chosen cadence pitch.
Suggested sequence activity:
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The Period (Page 249) Terms such as “period” and “phrase group” have been substantially clarified by theorists in the past few decades. Where once we had various definitions, we have used only one in this text: A period has a weak-strong cadential structure. Any design other than this is a phrase group. According to the definitions we have employed, there is no three-phrase period. While instructors are at liberty to revise these guidelines as they choose, beginning students find them helpful. Remind students that if a phrase is merely repeated, there is no cadential variety and, therefore, no period structure. The main problem for students is in locating cadences. Remind them that while there are many exceptions, the fourmeasure phrase and the eight-measure period are the norm. Many cadences are circled in text exercises, making the problem less significant. In addition, we have emphasized in this text that there are relatively fewer differences between “classical” structures and rock. Popular music usually includes numerous clichés such as syncopation and weak-beat cadences, but the same forms can be found in both styles. Phrase Group (Page 252) If two phrases are not antecedent/consequent in structure, they do not comprise a period. Accordingly, anything not a period is a phrase group. We can view a double period (weak-weakweak-strong) as a phrase group, but because it is longer, we employ the other term. With a restrictive definition of “period” and an encompassing one for “phrase group,” little disagreement (and little confusion) occurs among analyses. As students gain confidence, they will be able to locate cadences themselves and make decisions about metric position, and so on. Because there is no standard, we have avoided a more restrictive term for the weak-weak-weak-strong double period. Instructors might refer to this arrangement as “full,” “traditional,” “common” or the like with the term “sectional double period” reserved for any and all variants (most commonly, the weakstrong-weak-strong arrangement). Help students see the growth of musical idea from motive to phrase, to period (phrase group) and finally, to double period for a complete melody. Other Forms (Page 257) With the emphasis on song writing, we have added information on verse and refrain and also on “thirty-two-bar song form.” Help students understand that composers rarely have as a goal the blind adherence to a traditional form. Measures are added here and deleted there. Remind students throughout these studies that repetition is the cornerstone of composition. Only eight of the thirty-two measures in song form, for example, are contrasting. The remaining twenty-four measures are phrase repetitions.
Building Skills 9-1 (Page 263) There are two types of exercises in this section. The first will take most students very little time to complete. Keys are given; once the scale degree has been identified, the melodic cadence type is clear. The second page of the exercise is more open-ended. What are principal motives in these melodies? For the first (Schubert), we could argue that the four measures comprise a simple motive. On the other hand, the two dotted half notes might be another logical answer. In the Berlioz line, there are numerous motives; the first of these is the one we remember. Be sure to point out the vast difference
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between Schubert and Berlioz melodies in terms of variety. The “Spinning Wheel” melody opens with a four-note motive immediately heard in sequence. The Corelli begins with a four-note motive, and we would probably agree that the African phrase (number 5) begins with a motive of three notes. Part C of Building Skills 9-1 (Page 264) plays on earlier exercises in which students plan a cadence (terminal or progressive) and then arrive at that cadence through sequence. Remind students that it’s common to vary the third statement before the cadence. Encourage creativity and have students work in pairs to create solutions. Follow this by playing their composition in class. Building Skills 9-2 (Page 265) Ask students to identify the scale material heard (minor pentatonic for Robert Johnson, minor for Schumann, and major for “Cruel War,” the Haydn symphony, and “American Pie”). In form, “Ramblin’” is a phrase group; the Schumann, a traditional period. We might argue that number 3, “Cruel War” is a period because the first cadence is on the third scale degree and the second more final on tonic; “phrase group” is also an acceptable answer. The Haydn example is a period. “American Pie” is three phrases and, therefore, a phrase group. Use the recordings on the CD or perform in class as you discuss each excerpt. Building Skills 9-3 (Page 267) The German folk song is a sectional double period. Gershwin’s “I Got Rhythm” is a traditional song form, but with an extra two measures (measures 31-32) that delay the final cadence and ask the central question (“Who could ask for anything more?”) not once, but twice. This form is a sectional double period followed by a full double period. As always, emphasize the strength of cadences. We ask students to comment on their conclusions to each exercise in a paragraph (this may require another sheet of paper). This writing exercise is an important step in learning to communicate about music using appropriate terminology. Encourage students to embrace this new musical language and their ability to describe events in meaningful ways. Creative Projects (Page 269) There are really three different projects with this chapter. The first (“When Tyrants Tremble”) takes students step-by-step through the composition of a melody to set the first stanza of a text. This exercise might be completed in class with a discussion of each phase: (1) planning rhythm and meter, (2) creating motives and planning cadences, and (3) completing the four phrases. The second and third projects are open-ended songs to be set and modeled on “Tyrants.” Instructors may want to substitute a popular ballad for setting or to let students write their own text. In any case, include performance in the classroom, or invite students to use a notation program in order to play their composition for the class. Analysis in Context (Page 273) “The Sun, Whose Rays Are All Ablaze.” Lead a class discussion based on their answers to the questions about cadences. Invite students to perform the song, or invite a guest performer to class. Guide students through a discovery of the relationship between phrases and the overall form of the song.
Answers to Analysis in Context, Chapter 9: 1. G major 2. measure 4 3. terminal melodic cadence 4. measure 6 5. progressive cadence 6. P5 7. terminal melodic cadence 8. P4 9. progressive cadence 10. Ta di Ta di Ta ka di mi Ta
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Musicianship. There are no musicianship exercises in this chapter. If supplements are desired, play a variety of periods, phrase groups, and double periods, with students asked to identify the form. MySearchLab Each chapter of the text corresponds with a pretest, posttest, and chapter review test made available within MySearchLab. Encourage students to take the pretest prior to chapter introduction so that each student can compare their increase in knowledge with the corresponding posttest. The twenty questions available on the chapter review test are similar to those questions found in the building skills sections of the text; however, students are afforded immediate feedback at the conclusion of the test.
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Chapter 10 Triads This chapter invites students not only to construct and/or identify stacked vertical triads, but also encourages them to consider harmonic implications within melodies that may outline triads. Harmony (Page 279) To illustrate the thickening of a melody, ask the class to sing a familiar tune, then while they sing this, play or improvise an embellished version. Consider playing one or two examples of layered music from Indonesia or Africa. Make sure that students understand that tertian is only one type of triad; play some quartal and secundal chords to emphasize other choices. Triad quality (Page 280) Traditional instructions for triad construction based on component intervals are followed by instructions for relating major and minor triads to key signatures for construction and identification of materials. It is important to provide multiple tools for reaching the same goal. Major and minor triads are presented first with augmented and diminished introduced beginning on Page 283. Triads and Stability (Page 285) This discussion provides a bit of groundwork for a later understanding of triad inversions. Explain that the perfect fifth keeps us from hearing a triad as active’ but with diminished fifth, there is a strong tendency to resolve. To illustrate resolution further, play scale degrees 1-7 of a major scale and leave students “hanging.” This is the need for resolution produced by conditioning. Inverted Triads (Page 286) explain that inverted triads are inherently less stable than those in root position due to the lack of a perfect fifth above the root. First and second inversions are usually easy to grasp, but help students to understand why, in traditional music, composers carefully considered inversions (especially second inversion with the fourth between the bass and an upper voice). In a preparatory theoryoriented course, instructors should stress the varying interval content in root position and inverted triads and the relative stability of the triads might be discussed. This is an important concept and helps students understand why we spend so much time analyzing and discussing inversions in traditional tonal music (as opposed to jazz and commercial music where inversion is not as critical). Root-position triads are stable because they include a perfect fifth (the most stable interval after the octave) between root and fifth. The first inversion triad lacks the fifth, and in second inversion, the relatively unstable perfect fourth is present. Instructors might be prepared to comment further on the considerable instability of the diminished triad. Open and Closed Position (Page 288) Approach these new terms as ways we can differentiate among sounds that contain the same pitches. Explaining open and closed position helps students understand the affect of spacing on a triad. Remind students that spatial position has no affect on inversion. Triads With a Given Third or Fifth (Page 290) this activity takes time to master, depending on the students’ mastery of intervals in earlier chapters. Encourage visualization of the triad in root position – finding the root from the given third, and then assembling the three tones. Building Skills 10-2 (Page 297) For Building Skills 10-2, remind students that working out problems in root position on another sheet is acceptable in the beginning. Notice that problem C (Page 298) introduces the practice of identifying triads by their component intervals. It’s a good idea to go through a few examples of these as a class before making an assignment. Creative Projects Project A (Page 299) is actually analysis, although students assess rhythmic values as well as pitch. The triads are bracketed, making the process relatively simple. Once this section is complete, play the sustained chords while performing the melodic line. In Project B, students write periods based on triad outlines. The triads are given in order to produce a functional progression. Ask students to limit themselves to pitches in the triads and to plan the final pitch of the first phrase as a progressive cadence and the end of the second phrase as terminal. Suggest to students that the cadential pitch in each phrase should match terminal and progressive models.
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Analysis in Context (Page 307) “Ach lieber Herre Jesu Christ.” Once students have completed their answers to the questions, lead a class activity discussing the harmonic makeup of the chorale. Depending on the strengths of the class, you may have them sing the outermost voices while you fill in the inner voices; or sustain each chord at the piano and ask students to consider the various qualities and inversions of chords. The discussion should highlight momentum or progression in music, a product in part of the varying quality and position of chords. Answers to Analysis in Context, Chapter 10: 1. D major 2. G major 3. root position 4. F# minor 5. root position 6. G major 7. first inversion 8. C# diminished 9. first inversion 10. 4; half MySearchLab Each chapter of the text corresponds with a pretest, posttest, and chapter review test made available within MySearchLab. Encourage students to take the pretest prior to chapter introduction so that each student can compare their increase in knowledge with the corresponding posttest. The twenty questions available on the chapter review test are similar to those questions found in the building skills sections of the text; however, students are afforded immediate feedback at the conclusion of the test.
Musicianship 10-1 (Page 282) A sampling of the exercises presented on the MySearchLab website is shown below (These examples are not on the audio CD). It is up to the instructor if they would like to use the audio examples on the website for ear training or play them individually in class using the notation shown below.
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Musicianship 10-2 (Page 285) Ear Training: Triads of All Qualities These exercises provide practice opportunities in discerning between the various triad qualities. A sampling of the exercises presented on track 103 is shown below. It is up to the instructor if they would like to use the CD audio examples for ear training or play them individually in class. Part I
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Part II
Musicianship 10-3 (Page 290)
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Musicianship 10-4 (Page 292) is intended to facilitate additional exercises and not as an end in itself. Practice in class as the model suggests, but recommend to students that they sing in all areas of their natural ranges. Specify a neutral syllable or a system of solmization.
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Chapter 11 Chords and Symbols Before beginning this chapter, it is essential that students have mastery of the fundamentals presented in previous chapters. Take a moment before beginning this chapter to drill students in key signatures, intervals, and triads. Additional exercises in drill are also available on MySearchLab. This chapter includes an introduction to Roman numeral analysis and lead sheet notation, two skills that are critical for more advanced study in music theory. While many guitar players will be familiar with lead sheet notation, Roman numeral analysis will be a bit more challenging. Have students bring examples of lead sheet notation to class. Guitar chords for most popular and folk songs are easy to find using a web search. Voicing (Page 312) Have students listen to track 107 and discuss the various voicing of the E minor chord. It is important for students to understand that all methods are acceptable, but the difference is found in the texture of the chord. To demonstrate voicing, play the D major chords in each inversion. Which doubling is preferred to the student? Why? Approach to Analysis (Page 313-314) Assure students that the tedious approach to analysis is a model of approach. In actual practice, if students have mastered triads, they will develop a method that is fast and accurate. Emphasize the necessity of using marginal notes or sketches on another sheet when necessary. Musicianship 11-1, Ear Training (Page317) All of the exercises are included on track 109. No graphic is provided for this example; however, instructors are encouraged to perform triads in a variety of registers." Answers are found in appendix D. Students can and should use the CD for additional practice outside of class. Chord Symbols (Page 318) Because jazz musicians are familiar with the jazz (handwritten) font, this type style is retained in the text. Likewise, we have formatted exercises involving chord symbols with answers above the chord. Explain to students at the outset that symbols comprise a shorthand method of labeling chords. Chord symbols are the stock-in-trade of musicians who improvise and a short history of this practice may be useful. Remind students that chord symbols tell the performer which pitches to use and emphasize in improvisation. Mention also that augmented triads are considerably more common in jazz and popular music than they are in traditional music. The caveat, however, must be that where traditional music tends to be explained on the basis of a harmonic concept (a simple triad with 9-8 suspension, for example), jazz and popular symbols often absorb dissonant pitches into the chord (a ninth chord or sus9 instead of the 9-8) Have students bring examples of lead sheet notation to class. Guitar chords for most popular and folk songs are easy to find using a web search. Although some lead sheets will include chords not discussed in this chapter, it will not be difficult to explain the make up of any chord once the student understands that the lead sheet symbol indicates the root and the quality. Any numbers added to the lead sheet symbol indicate a scale degree to be added to the chord. Roman Numerals (Page 320) When introducing Roman numerals, the most effective method is to draw a major scale on the board and build triads. Before discussing how the Roman numeral represents the scale degree on which the chord is based, list the lead sheet symbols above the staff. Quality for each Roman numeral is easily seen when the lead sheet symbol accompanies the chord. An exercise where a single chord is viewed in a number of different keys is always useful. Consider a single triad and ask students whether this triad is tonic, supertonic, mediant, and so on. Considering only major keys, because the triad is major, the given chord must be tonic, subdominant, or dominant. Consider a range of keys to emphasize that some triads can function in two or more keys while others remain nondiatonic.
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Diatonic Chords in a Major Key (Page 321) Remind students that in a major key, all chords on the major scale will be diatonic and no additional accidentals are necessary! Figured Bass Symbols (Page 323) When introducing figured bass symbols, it is important to note that the symbols were used in such a manner that continuo players of the Baroque era could improvise when given just a bass pitch. The Arabic number actually refers to the intervals that need to be “composed” above the given bass. Too often students look at figured bass as a short hand for inversions only. While this is true, the figured bass represents the interval make up of the chord in relationship to the bass. Musicianship 11-2 (Page 326) If your classroom is not equipped with a keyboard, have students come up to the piano one or two at a time to play the chords indicated in Musicianship 11-2. By including this hands on approach, students will have a better understanding as to how inversions work in the context of the chord as a whole. Chords within context (Page 327) In order to better understand how chords are altered within the context of the three minor scales, draw the three types of minor scales on the board. Notate triads on each scale degree and have students call out the quality of each chord. Play each scale with the appropriate triads in succession on the piano. Have students talk about the role of the leading tone in both the mediant, dominant, and leading tone chord? How does the raised 7th affect the overall sound of the chords? Building Skills (Pages 331-338) Building Skills 11-1 and 11-2 gives students the opportunity to work with lead sheet symbols, Roman numerals, and figured bass. Remind students that the lowest staff in the opening exercise is for reference/draft work and not a part of the final answer. Building skills 11-3 asks the student to use both lead sheet symbols and Roman numerals to analyze the given chord. Students will need to indicate quality of the chord in the Roman numeral as well. Creative Projects (Page 339) The creative projects presented in this chapter include both analysis and composition. Be sure to perform the final compositions in class. Have the class talk about how similar chord progressions can lead to a different melody entirely. For another in class discussion, begin talking about the common progression I-v-IV-V. See how many songs that students can name that use this progression. Analysis in Context (Page 341) Folk Song, “Will You Wear Red?” For each Analysis in Context exercise, a complete performance is available on the accompanying CD. The streaming audio is also available on MySearchLab. Before beginning the assignment, remind students to listen to the performance several times. The D7 chord presented in the analysis in context exercise will be discussed in greater detail in chapter 12. However, using lead sheet symbols only, students should be able to understand that the missing note in #4 is C. If you have any students who play guitar, have them strum along to the chords as students sing the entire excerpt. Answers to Analysis in Context, Chapter 11: 1. G major 2. G, B, and D
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3. root position 4. D, F#, C 5. root position 6. C major 7. C, E, and G 8. two; half 9. simple duple 10. Ta di Ta di Ta Ta MySearchLab Each chapter of the text corresponds with a pretest, posttest, and chapter review test made available within MySearchLab. Encourage students to take the pretest prior to chapter introduction so that each student can compare their increase in knowledge with the corresponding posttest. The twenty questions available on the chapter review test are similar to those questions found in the building skills sections of the text; however, students are afforded immediate feedback at the conclusion of the test.
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Chapter 12 Tonality This chapter provides an introduction to several important topics of music theory, including texture, seventh chords, and function. Before beginning this chapter, have your students listen to a variety of musical examples from their own literature and discuss what they hear in the music. Guided listening is always an important skill in the music theory classroom. The skills presented in this chapter are setting the framework for compositional exercises and song writing. Melodic Tendencies (Page 346-347) Explain to students that they already know melodic tendencies from their familiarity with Western music (in most styles and periods). The study is relatively less difficult if they understand that these are not arbitrary “rules,” but the tendencies by which traditional melodies are written. Have students sing or kazoo through the scale shown on Page 346 and 347. Where do the pitches want to go? Within the text, the term stable pitch refers to a pitch belonging to the tonic triad, or do-mi-sol. Ask students to outline the triad on solfege and then outline the V chord? How does the pitch sol sound stable within the tonic chord and unstable in the dominant chord? The text discussion is relatively complete, so not much needs to be added here. As always, remind students that composers may ignore harmonic as well as melodic tendencies to create an affect or to delay an arrival. Folk music abounds with V-IV progressions, for example, and some choices in contemporary popular music rest of guitar fingerings) of a single generative triad or chord. Cycle of Progression (Page 355) After discussing the cycle of progressions, have students create their own progressions and have a student improvise the chords on keyboard or guitar. Be sure to write both the Roman numerals and the lead sheet symbols on the board as students call out the appropriate chord. Another interesting approach to teaching progression can be found in the following statement from the Leonard Cohen Song, “Hallelujah.” “It goes like this, the 4th the 5th, the minor fall, the major lift.” The progression listed in the lyrics of the song is the falling 5th or the ascending 4th, followed by the fall of the 3rd, and the ascending 2nd. Many popular songs follow this progression exactly I-IV-ii-vii (V)-I. Students are very familiar with this particular piece and it encourages a discussion on harmonic progression beyond the circle presented in the text. The song “Run Around” by Blue Traveler is an excellent example of a IIV-ii-V progression. Dominant Seventh Chord (Page 359) Although the dominant seventh chord (Mm7) is the most used in music, it is important to discuss the other types of seventh chords found in music. Beyond identification of quality, take the time to talk with the students about how each seventh chord can be found within the context of a given key. Similar to the approach for Roman numerals, write out the major scale and build seventh chords on each scale degree. Have students identify the correct quality and assign the appropriate Roman numeral. Complete the same process using the minor scale. Musicianship 12-2 (Page 362) This exercise consists of triads and seventh chords. All of the examples in this section appear on Track 120 of the CD. No graphic is provided for these examples; however, instructors are encouraged to perform seventh chords in a variety of registers. Instructors may choose to incorporate a variety of seventh chords or focus only on the dominant seventh chord. Answers are found in appendix D. Building Skills (Page 363) This chapter includes a great deal of music from literature, incorporating classical, folk and popular genres. Encourage students to listen to each excerpt before answering the questions. Building Skills 12-2 (Page 365) asks students to identify the function after identifying the appropriate chord. Remind students to use Roman numerals as a way to better understand the function of each chord. Building Skills 12-3 (Page 367) focuses on identification and notation of seventh chords. Be sure to review the figured bass symbols for seventh chords before beginning the assignment.
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Creative Projects (Page 369) By “periodic melodies” in the instructions to Project A (Page 369) means that each melody should be a period with antecedent and consequent phrases. Suggest the use of repetition, sequence, and variation as well as contrast. The third melody is unstructured. Make sure that students understand that their work in Project A is the basis for a song setting in Project B. Analysis in Context (Page 371) The Well Tempered Clavier, Book 1, Prelude no. 1 in C Major For each Analysis in Context exercise, a complete performance is available on the accompanying CD. The streaming audio is also available on MySearchLab. Before beginning the assignment, remind students to listen to the performance several times. This familiar piece by Bach incorporates all of the seventh chords discussed in this chapter. For a more detailed analysis assignment, ask students to complete a lead sheet analysis for the entire piece. Answers to Analysis in Context, Chapter 12: 1. Homophonic 2. Once per measure 3. D minor-minor seventh (third inversion) 4. ii 4/2 5. G Major-minor seventh (first inversion) 6. V 6/5 7. E fully-diminished seventh 8. Tonic-predominant-dominant-tonic. This progression establishes the key by providing momentum away from and back to tonic. 9. 20; dissonant seventh chords create a need for resolution; since the majority of the piece is made up of seventh chords, there is a forward momentum towards harmonic goals 10. C is a dissonant suspended pitch over a G Major-minor seventh chord
MySearchLab Each chapter of the text corresponds with a pretest, posttest, and chapter review test made available within MySearchLab. Encourage students to take the pretest prior to chapter introduction so that each student can compare their increase in knowledge with the corresponding posttest. The twenty questions available on the chapter review test are similar to those questions found in the building skills sections of the text; however, students are afforded immediate feedback at the conclusion of the test.
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Chapter 13 Harmonization Henry directed the activities in this text towards a final goal of writing a song. While this project can be as long or as short as desired, a double period is both a reasonable and practical goal so that all or some of the song can be performed in class. The majority of the material in this chapter is a step-by-step guide to writing a song. Harmonic Cadences (Page375) While students have learned that a melodic cadence is usually the final pitch in a phrase, advise them that a harmonic cadence is the final two chords in the phrase. The melodic cadence, then, is the pitch that coincides with the second of the two chords in a harmonic cadence. We have not differentiated between “perfect” and “imperfect” authentic cadences in this text. Deceptive, half, and plagal cadences are discussed briefly with one or more examples. For additional reinforcement, improvise phrases at the keyboard ending with various cadences. Ask students to choose the cadence from a list, encouraging them to listen to the melodic ending based on their previous experience with melodic cadences. Next, lead them through listening to the bass line, and matching the various cadence types. Planning Cadences in a Melody (Page 382) Go though this material explaining and illustrating all possibilities for “Go Down Moses” and reinforcing the reasons that various choices were made. Choose a similar melody (a folk or children’s song) and go through the entire process again with students contributing to determining phrase structure, possible cadences, the best cadences, then choosing particular chords to create those ending points. Tennyson’s poem “Lost Love” (Page 383) is an opportunity to plan an entire song setting. Help students grasp how to determine whether a line begins with an anacrusis or not and how to use variation and other techniques to mold phrases. Harmonic Rhythm (Page 386) Students should begin with the slowest logical harmonic rhythm in a setting, adding additional chords as necessary to create functional progressions. Review other melodies given in the text with and without analysis and ask students to determine the harmonic rhythm. Nonchord Tones (Page 392) Students will find passing and neighbor tones useful to smooth out a melodic line. We have also mentioned anticipations because they are relatively obvious and frequent in popular music. On the other hand, students can use other types of nonchord tones that “sound right” without knowing exactly how they are identified formally. These examples will facilitate a discussion, but the best approach is probably to suggest to students that if a pitch does not fit the chord and if they cannot identify that pitch as a PT, NT, or ANT, they should not use it. Vocal Ranges (Page 394) Use singers in the class to show the class how exceptionally higher and lower pitches in various ranges sound. Emphasize the importance of ‘singable’ lines, and how extremes of range can affect tone color and performance. Transposition (Page 394) Several previous exercises have centered on this activity. Make students aware that in planning their key, they need to consider the highest and lowest pitches and do not necessarily have to write out the entire melody. Mention tessitura (a term not included in the text) and note the difference between passages of exceptionally high or low notes on the one hand and a pitch or two that form the climax of a phrase.
Planning the Harmony (Page 396) Henry suggests a five-step process to planning a harmony. These steps should be taken in order, but as we suggest throughout out the text, practicing composers often do this planning intuitively and not in the given order. The process of identifying all possible chords within a phrase, then choosing the most appropriate is worthwhile for most beginning composers. The step requires them to think about their choices and pull together several important skills from this and earlier chapters.
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Recommend, however, that they plan cadences throughout the composition before filling in chords within the phrase. “The Bells” (Page 394ff.) is a sample of what a satisfactory student final project might look like. This song is a three-phrase group, but other texts could be set as double periods. Stress legible calligraphy (and it is best to disallow a submission with computer software), harmonic function, and general simplicity of style and approach. Whenever possible, students should be able to hear their work performed. Musicianship (Page 401) Musicianship 13-1 includes keyboard exercises that introduce the four remaining major scales (F, B-flat, E-flat and A-flat). Building Skills (Page 403) Explain in Building Skills 13-1 that while we have provided drills on construction of various cadences types, authentic and half are the most common. While Part B employs chord symbols, we do so in the context of a key. Remind students to ignore the smaller notes (non-chord tones) in exercise C. The cadence in line 1 (Schubert) is half; line 2 (Berlioz) is authentic; and line 3 can be plagal, deceptive, or authentic depending on how the chords are interpreted. The important questions regarding “Spinning Wheel” are how do the choices sound? Does this particular cadence work with those of other phrases to form a unified melody? Building Skills 13-2 (Page 405) Have students use either a note value or words (every beat, every measure, and so on) to describe the harmonic rhythm in the space provided. The first melody is a period; the second, a phrase group; and the third, a repeated phrase. For “phrase construction,” we would describe the folk song as contrasting (despite a similarity in the opening measure of both phrases); the second as more clearly contrasting, and the third as identical (repetition) Creative Projects (Page 407) Henry’s goal for this chapter (and the entire text) is a brief song composition. Students will profit from the harmonization of given melodies as a midpoint in these studies. You may choose to use one of the melodies as a class activity and assign the other for homework (Pages 407 and 408). Analysis in Context (Page 409) (They Long To Be) Close To You After students answer the study questions for homework, use the score “Close To You” to look at how Bacharach uses various elements, such as rhythm and melody to shape the sections of the text. This type of discussion should encourage students to review their final composition and consider ways to shape their work. Answers to Analysis in Context, Chapter 13: 1. C minor 2. fermata 3. half cadence 4. authentic cadence 5. passing tone 6. neighboring tone 7. grace notes 8. C4 to F5 9. soprano 10. answers will vary MySearchLab Each chapter of the text corresponds with a pretest, posttest, and chapter review test made available within MySearchLab. Encourage students to take the pretest prior to chapter introduction so that each student can compare their increase in knowledge with the corresponding posttest. The twenty questions available on the chapter review test are similar to those questions found in the building skills sections of the text; however, students are afforded immediate feedback at the conclusion of the test.
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