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MUS211-212
MUSIC THEORY III - IV
DR. ORPEN
SYLLABUS
for
MUS211 Fall 2005
and MUS212 Spring 2006
GUSTAVUS ADOLPHUS COLLEGE
MUSIC DEPARTMENT
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COURSE INFORMATION
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0. 1 course each semester
. Required of Music Majors
. Students must achieve a minimum grade of C- in order for these courses to count in the Music Major or Music Minor.IF YOU ARE PURSUING A MUSIC MAJOR AND RECEIVE A GRADE FOR THEORY I-IV THAT IS LESS THAN A "C-," YOU SHALL NOT REGISTER FOR THE NEXT COURSE IN THE SEQUENCE BEFORE YOU RETAKE THAT COURSE AND RECEIVE A "C-" OR BETTER. If you proceed with a grade that is less than a C-, you will not be able to meet the requirements for the Music Major.
. Period 2 or 3, MTWF, FAM 304 or 308 (we switch days with MUS111)
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MUSIC EDUCATION STANDARDS
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0. MUSIC EDUCATION STANDARDS ADDRESSED IN THIS COURSE INCLUDE:
Subp. 3 A. 1 identify and analyze musical forms
Subp. 3 A. 6 physical response to music through conducting
Subp. 3 A. 7 reproduce intervals, scales, and chords in written and aural work
Subp. 3 A. 9 demonstrate use of technology in Finale assignments
Subp. 3 C. 7 improvise using keyboard instrument in PP assignments
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REQUIRED TEXTS
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· Benward, Bruce, and Marilyn Saker. Music in Theory and Practice. Vol. II, 7th ed. Boston: McGraw-Hill, 2003.
· Benward, Bruce, and Marilyn Saker. Workbook to Accompany: Music in Theory and Practice. Vol. II, 7th ed. Boston: McGraw-Hill, 2003.
· Kraft, Leo. A New Approach to Ear Training. 2nd ed. New York: W.W.Norton, 1999.
· Kraft, Leo. Compact Discs to Accompany: A New Approach to Ear Training. 2nd ed. New York: W.W.Norton, 1999.
· Orpen, Rick. Rhythm Etude Reader. Book III. 2004.
· Ottman, Robert W. Music for Sight Singing. 6th Ed. Upper Saddle River, NJ: Prentice-Hall, 2001.
· Turek, Ralph. Analytical Anthology of Music. 2nd ed. New York: McGraw-Hill, 1992.
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REQUIRED MATERIALS
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· Metronome
· Score paper with black staves (not the tear-out kind)
· 3-ring binder or folder, and pencils
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RECOMMENDED
SOFTWARE
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Your Benward Workbook has a Finale based software package. As Music Majors you may consider purchasing a copy of Print Music ($69) or Finale (approx. $250) for your personal use or Notepad http://www.finalemusic.com/notepad. These programs will be valuable to you as you continue in your career. Aabaca Music has discounted prices for both and can be reached at http://www.aabaca.com/software.html
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FINALE WORKBOOK
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Using the Finale Workbook CD-ROM
. Save all files as .mus files so that they work using Finale.
. Install Finale Workbook on your computer: Load the CD-ROM into your computer (Mac or Windows) and double click the Installer Icon, follow the directions and do a complete installation, YOU WILL NEED TO RESTART YOUR COMPUTER (these instructions are also on the Finale Workbook Tutorial found at the website listed below), THE CD-ROM MAY NEED TO BE IN YOUR COMPUTER DRIVE TO EXECUTE SAVE OR SAVE AS!
. Instructions for setting up sound on your computer are also found on the website tutorial
. Go to http://www.mhhe.com/mtp7
. Select Student Center; select Finale Workbook Tutorial if you need instruction or assistance
. To download assignment templates to your computer: click on Finale Workbook Assignment, choose download all of the templates and you will create a folder with your templates (you may need to check your computer's Downloads folder to find it - "completed_mgh Folder")
. MAKE A DUPLICATE TEMPLATE: You may wish to create a duplicate template before beginning your assignment, in this way you will save the original should you need to return to it.
. IF YOU USE THE LAB COMPUTERS TO DO YOUR ASSIGNMENTS, USE SAVE AS. YOU MAY SAVE THIS TO YOUR HOME DIRECTORY.
. To begin working on an assignment, you must open the Finale Workbook first and then choose Open from the file menu to select your file. SAVE AS .mus FILES!
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COURSE CONTENT
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0. These two courses, offered in sequence each year, complete the course of study in music theory. They are the major courses in the materials and structure of music (time, melody, harmony, form) that also address questions about the processes and techniques used in creating musical works and develop a sense for the criteria by which music is evaluated. During the first semester, the emphasis is placed on chromatic material and major musical forms. In addition, there will be work in the skills of dictation, rhythm reading, sight singing and keyboard harmony. The second semester continues this work with an emphasis on contemporary music. Musical compositions in several style periods are analyzed.The following are among the competencies to be developed by the student:
. HARMONY
Partwrite conventional progressions in four voices
Partwrite seventh chords and their regular and irregular resolutions
Partwrite Neapolitan and Augmented Sixth chords and their resolutions
Partwrite embellishing chords (secondary and leading-tone triads and seventh chords)
Partwrite the most commonly used ninth, eleventh and thirteenth chords
. ANALYSIS
Analyze music using roman numeral analysis/figured bass, commercial chord symbols, and Schenkerian-styled linear reduction
Analyze contemporary music using serial techniques including set theory, 12-tone matrix construction and row identification
Place works in historical context/draw parallels with other arts/disciplines
. RHYTHM READING AND SIGHT SINGING
Read rhythmic exercises using conductor's beat and rhythmic syllables
Read melodic material using Movable Do or "La" and the conductor's beat
. PIANO PROFICIENCY
Read piano music of moderate difficulty OR piano accompaniments to vocal/choral music or condensed band scores (MUED), transpose piano music, harmonize a melodic line, and improvise a melodic line for a chord progression
. DICTATION
Write advanced rhythmic, melodic and harmonic dictation exercises as found in Kraft Ear Training®
. FORM
Identify through analysis and listening the following forms; variation, rondo, sonata form, and several small forms
Write compositions for piano and other vocal or instrumental ensembles as appropriate
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STUDENT OUTCOMES
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0. The student will partwrite diatonic and chromatic harmonies using Finale.
. The student will analyze and discuss the larger musical forms.
. The student will notate advanced melodic, rhythmic and harmonic aural music examples.
. The student will use ear training software to improve dictation skills.
. The student will sight sing advanced chromatic musical examples using solfege syllables.
. The student will sight read advanced musical examples in various meters using rhythmic syllables.
. The student will transpose, harmonize, improvise, and sight read piano music at a moderately difficult level. Skills will include simple keyboard accompaniments and playing parts from a musical score.
. The student will compose short pieces using traditional compositional techniques and contemporary practices, notate with Finale, and use a MIDI system for playback.
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CLASS MEETINGS
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0. Mondays: Skills and ear training assignments are presented; dictation quizzes; bring Orpen, Ottman, Kraft texts and PP materials, score paper and pencils
. Tuesdays and Wednesdays: presentations on theory topics, analysis, and written assignments; written exams
. Thursdays: no class
. Fridays: Skills checks are performed and graded during class time. Occasionally assignments are turned in on Fridays.
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COURSE TIME AND ATTENDANCE EXPECTATIONS
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0. Students should expect to spend 5-10 hours per week outside of class time working on assignments. To attain mastery of the materials, additional time is almost surely required.
. Students shall notify the instructor in advance if they must miss a class. The student is expected to be at every class session on time.
. An attendance record is kept. It is not likely that the required work will be successfully completed unless regular attendance is maintained.
. Excessive absence (more than two unexcused absences) may result in a lowering of the student's grade at the discretion of the instructor.
. The student who misses a class is responsible for obtaining assignments and submitting them to the instructor the next class day.
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PRACTICE PARTNERS
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0. Each student will select a classmate as a Practice Partner. Practice Partners will meet a minimum of 2 times each week to assist each other in the preparation of the sight singing, rhythm reading, and piano proficiency assignments. Practice Partners should also work together in preparation for Dictation Quizzes. This is an important commitment and responsibility for you. Keep your scheduled times, inform your partners of any conflict, and offer a time to reschedule.
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SOLMIZATION
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0. Sol-fa syllables are useful in establishing pitch relationships and therefore assist the development of sight reading skills. We will continue to use the movable do system for the second year of theory.
. "La" is used effectively as a generic syllable. "Tah" can be used in faster passages.
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EXAMINATIONS
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0. There will be regularly scheduled hour examinations (50-100 points each) and a final examination (2-300 points).
. There must be a compelling and acceptable reason for missing an examination. This notice must be given in advance. The instructor will decide whether extra-ordinary circumstances warrant administering the examination at a different time. If the missed examination is not made up one week from the date of the miss, the grade will be an F.
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QUIZZES
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0. Dictation Quizzes (10-20 points) are given only during the scheduled time. A make-up will not be given. A compelling and acceptable reason must be given in advance for missing a quiz. An unexcused miss is graded as a zero. Only those quizzes taken and zeroes for unexcused misses will be used to compute the grade. Students who take all of the quizzes will have their lowest score removed. The Kraft assignments are the material that is tested on these quizzes.
. Short unannounced Written Quizzes (10 points) on assigned material from the text can be given during a class period. The grading procedures apply as stated above under Dication Quizzes
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LATE ASSIGNMENTS
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0. Assignments which are late will be checked in the usual manner for mistakes but will also receive one letter deduction for each day the assignment is late. For instance, the grade for an assignment that is one day late will not be higher than B.
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ACADEMIC HONESTY POLICY
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See the College Catalogue Statement; REMEMBER YOUR HONOR CODE AND RESPECT IT!
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ALL-COLLEGE POLICIES
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Matters related to All-College Policies (alcohol/drug, sexual harassment, et. al.) will be referred to the Dean of Students.
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PIANO PROFICIENCY POLICY
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0. Theory Students - All students registered for MUS 111, 112, 211, and 212 are required to take Piano Proficiency instruction as part of the normal course load. Student scores on checks are factored into the theory grade.
. see PP site Oshima-Ryan
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MUSIC LAB
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0. The Music Lab, FAM 304, contains 12 MIDI Workstations.
. These are to be used for music related assignments or projects including but not limited to ear training, composition, arranging, and music papers.
. Students may access their personal email accounts if done outside of classtime, but never during class.
. Under no circumstances should the computers be used to access, create, or disseminate inappropriate matter.
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KRAFT EAR TRAINING
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0. The Kraft text is the ear training program to be used in preparation for dictation quizzes. The Kraft assignments are tested in the Dictation Quizzes. Any CD player can be used for this study. (Please do not hum or sing in the Music Lab or Student Lounge.)
. Each problem is played once on the CD.
. To replay a problem you may obviously use the rewind button to search for the start
. OR use the index numbers printed in the book to find the beginning if your CD player has index numbers
. OR use iTunes in the Lab or on a Mac to play the problem; load the CD in the computer tray, double click on the Audio CD icon when it appears, double click on Track 1 (or any other Track you wish to begin with) which will open iTunes and all Tracks will appear in iTunes, double click on the Track in iTunes that you wish to play, use the slider to locate the index number
. OR set the loop function on your CD player to replay it as many times as you want.
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GRADING
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0. Written Skills
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Written Work
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200 Points
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points are average amounts based on typical semester
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Written Quizzes
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(possible 50 points)
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Written Exams
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300 points
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Final Exam
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200 points
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0. Performance Skills
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Dictation Quizzes
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140 points (7x20pts)
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(low score may be tossed)
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Sight Singing
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50 points (10x5pts)
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Rhythm reading
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50 points (10x5pts)
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Piano Proficiency
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100 points (10x10pts)
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Total (approx)
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1.090 pts
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GRADING CHART
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w/score ranges
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POINTS POSSIBLE
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100
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75
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50
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30
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20
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10
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A
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95
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71
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48
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29
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19
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10
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A-
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92
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69
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46
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28
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9
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B+
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89
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67
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45
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27
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18
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B
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83
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62
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43
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25
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17
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8
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B-
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80
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60
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41
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24
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16
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C+
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77
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58
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39
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23
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15
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C
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71
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53
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37
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21
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14
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7
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C-
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68
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51
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35
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20
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13
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D+
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65
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49
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33
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19
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D
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60
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45
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31
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18
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12
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6
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F
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---
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---
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---
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---
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---
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---
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The student should maintain an up-to-date and accurate record of her/his point total. The instructor is available at any time to discuss grades and normally meets individually with students at mid-term to discuss progress and grades.
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STANDARDS FOR SIGHT SINGING AND RHYTHM READING MUS211, 212
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0. SIGHT SINGING
Appropriate and steady conductor's beat
Proper tempo – bring your metronome
Correct syllables (Movable Do or "La" as requested)
Good pitch (The quality of the voice is not a factor in judging sight singing.)
Musical phrasing
Given A=440, find starting pitch or tonic
. RHYTHM READING
Appropriate and steady conductor's beat for solo etudes
Proper tempo – bring your metronome
Approptiate rhythm syllables as indicated in Rhythm Etude Reader
Rhythmic precision (attack points)
Musical phrasing
. PROCEDURES FOR SS AND RR CHECKS 1. Dr. Orpen will have an UNMARKED book for you to use in checks. 2. He will ask for two sight reading exercises each from those assigned for SS and RR that week. 4. A=440 will be sounded for SS. Find the beginning pitch or tonic as appropriate, do any other necessary preparation, conduct one measure at tempo (RR is done with the metronome), and begin. DO NOT STOP ONCE YOU START
. YOU ARE ENCOURAGED TO MARK SYLLABLES IN YOUR MUSIC FOR THE PURPOSES OF THIS STUDY! However the testing is done from an unmarked copy.
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STANDARDS FOR PIANO PROFICIENCY
MUS211, 212
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0. Proper tempo
. Appropriate fingering
. Musical phrasing
. PROCEDURES FOR CHECKS ON ASSIGNED MATERIAL: 1. Have the assigned materials ready when entering the room for the check 2. Dr Oshima-Ryan will select material for the check from the prepared assignment
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COUNTING SYSTEM
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0. Just as sol-fa syllables establish relationships between notation and pitches, counting using rhythm syllables establishes a relationship between notation and duration. It assists the development of sight reading skills. This counting system is derived from the traditional system in percussion instruction.
. Meter signatures establish bar lines identifying the length of a measure. The measure aids the musician in reading music. The division of the measure into equal units of time as reflected in the meter signature's lower number is the beat. Groupings of beats form hyperbeats. Beats and hyperbeats create the pulses which are the conducted or sensed emphases. Subdivision is the division of the beat, hyperbeat, or another level into two or three smaller equal values. Ametrical divisions require tuplets. Understanding the concept of subdivision is important in the study and performance of music with a goal of rhythmic precision. A good concept of musical time springs from a skilled understanding of rhythmic divisions and subdivisions.
. The counting system uses Arabic numerals; 1, 2, 3, etc., for pulses or triplets and, "e, &, a," for the quadruple subdivisions of the beat. The '+' is often used at the third level of subdivision to represent 'and.'
. The beat is the number of note values stated in the meter signature that will fill a measure. For example, two quarter notes in 2/4 meter, six eighth notes in 6/8 meter, etc.
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SIMPLE METER
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2/4 METER
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Beat (division of a measure according to the signature = 2 quarters)
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1
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2
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Quarter Notes
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Subdivision
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1
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&
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2
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&
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Eighth Notes
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Second Level Subdivision
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1
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e
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&
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ah
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2
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e
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&
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ah
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Sixteenth Notes
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3/4 METER
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Beat (division of measure)
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1
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2
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3
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Quarter Notes
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Subdivision
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1
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&
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2
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&
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3
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&
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Eighth Notes
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Second Level Subdivision
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1
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e
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&
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ah
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2
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e
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&
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ah
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3
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e
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&
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ah
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Sixteenth Notes
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4/4 METER
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Beat (division of measure)
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1
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2
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3
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4
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Quarter Notes
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Subdivision
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1
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&
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2
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&
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3
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&
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4
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&
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Eighth Notes
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Second Level Subdivision
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1
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e
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&
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ah
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2
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e
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&
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ah
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3
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e
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&
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ah
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4
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e
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&
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ah
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Sixteenth Notes
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COMPOUND METER
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6/8 METER
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Hyperbeat (combined beats)
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1
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2
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Dotted-Quarter Notes
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Beat (6-8th notes)
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1
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2
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3
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2
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2
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3
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Eighth Notes
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Subdivision
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1
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&
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2
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&
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3
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&
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2
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&
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2
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&
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3
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&
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Sixteenth Notes
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A hyperbeat is a grouping of the beats/divisions of a meter. Compound meters, asymmetric meters, and quick tempos are responsible for hyperbeats that are reflected in changes in conducting patterns.
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COUNTING TRIPLETS
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. The eighth note triplet is counted 123 and provides the basis for counting all other triplets. (Numerals are used because this allows for a consistent use of the counting system when counting subdivided triplets."Tee" may be substituted for "three" in fast passages.) The placement of a triplet figure in relation to a pulse or a subdivision of that pulse is reflected in the counting system. Therefore, eighth-note triplets in 4/4 meter will be counted - 123,223,323,423.
. Sixteenth-note triplets are triple subdivisions of eighth notes, therefore in 4/4 meter they will be counted - 123&23,223&23,323&23,423&23.
. Quarter-note triplets are triple subdivisions of half notes, therefore in 4/4 meter, each pair of eighth notes in an eighth-note triplet will equal one quarter note in a quarter-note triplet which will be counted - 1 2 3 4 5 6 3 2 3 4 5 6.
. Half-note triplets are triple subdivisions of whole notes. They will be counted -
1 2 3 4 5 6 3 2 3 4 5 6.
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FINALE FIRST TIME SET UP
PRELIMS
ALESIS – 00 GM MULTI BANK: GENMIDI (MIX lit) (to change push UP)
FASTLANE: BUTTON IN = KEYBOARD, BUTTON OUT = FINALE
(check Alesis and speakers – on? Volume up? Right Headphones?)
FIRST TIME PROCEDURE (this will be saved)
1. OPEN FINALE – select Default Document
2. MIDI MENU – select MIDI THRU and check SMART
3. MIDI MENU – select INTERNAL SPEAKER PLAYBACK and check OFF
4. MIDI MENU – select MIDI SET UP – select AUDIO MIDI SET UP
5. AUDION MIDI SET UP – select MIDI DEVICES at top
6. MIDI DEVICES – click twice on ADD DEVICE (two New External Devices)
7. Click Fastlane OUT and drag to connect to the IN of the first New External Device and then connect the Fastlane IN to the other device OUT.
8. Click on TEST SET UP – play a note on your piano keyboard (it will sound and/or the Fastlane connection will flash red) then click on the other and it will trigger all sounds in the Alesis (if no sound, is the Fastlane button out?)
9. Click OK and return to MIDI SET UP – (be sure Enable Inter-Application Ports is checked and COREMIDI is selected) select New External Device for Finale Channels 1-6 INPUT and OUTPUT and RECEIVE MIDI SYNC and click SEND MIDI SYNC.
10. Click OK and go to the Default Document
11. Enter a few notes in the first measure, copy to several other measures to check sound
12. Click Play button in Playback Controls (found in Window menu if not showing) and immediately press the PROG button on the Alesis and then the MIX button - scrolling. (THIS WILL NEED TO BE DONE EACH TIME!!) Alternative is to hold down space bar and click in the first measure – non-scrolling playback – click the mouse again to stop.
13. RETURNING TO “KEYBOARD PLAYING ONLY” REQUIRES PUSHING IN THE FASTLANE BUTTON, AND MAY REQUIRE PRESSING THE “UP” BUTTON TO RECYCLE THE PIANO SOUND TO 00 GM MULTI BANK: GENMIDI.
TROUBLESHOOTING
The Fastlane LEDs will flash if the unit is receiving a signal from the computer. If the Alesis still does not respond, make sure the Fastlane button is out and volumes are up; look quickly at cables to be sure these are plugged in. (FACULTY ONLY -The Alesis may need to be reinitialized - restart holding the Cursor button in on both sides. Release and then do Edit Up and turn on MIDI. If still not working, Alesis GM MULTI - EDIT-UP-P11 = MIDI.)
MUS211 Discography
. Bach 2-3 Part Inventions AVM22.B3 G6 BWV.772-795 1983
. Bach, The Well-Tempered Clavier Bk. 1 CD 940
. The Wurst of P.D.Q. Bach AVM 5800 .S31
. Beethoven Piano Music AVM 22.B4 P5 1968 no. 14
Five Variations on "Rule Britannia" in D Major
Seven Variations on "God Save the King" in C Major
Twelve Variations on "Das Waldmaedchen" in A Major
Six Variations on "Nelcor Piu" in G Major
Eight Variations on "Taendel und Scherzen" in F Major
Thirteen Variations on "Es was einmal eil olter Mann" in A Major
. Beethoven Piano Music AVM 22.B4 P5 1968 no. 15
Six Variations on "Turkish March" in D Major op.76
Thirty-Two Variations on an Original Theme in C Minor
Seven Variations on "Kind Willst du" in F Major
Six Variations on an Original Theme in F Major op. 34
Twenty-Four Variations on "Venni amore" in D Major
. Beethoven Sonatas Op. 2,7,10,13,14 including Pathetique CD 859
. Beethoven "Moonlight" and "Waldstein" Sonatas CD 859
. Beethoven Variations and Short Pieces AVRD 2401 v.5 no.1-3
Diabelli, Eroica, Op. 34 Variations
Bagatelles, Op. 33 and 126
Fantasia, op. 77
Three Rondos
. Brahms Four Symphonies CD 193
. Chopin Preludes AVM 22.C545 P7 OP.28 1969
. Copland Piano Variations CD198
. Elgar Enigma M1003.E4 V3 1965
. Four Sea Interludes M1515.B7 F6
. Handel Suite No. 5 in E Major AVRD 7952 (Air and Var. - Harmonious Blacksmith) Bach Partita No. 6 in E Minor Scarlatti Sonatas
. Haydn Sonatas AVRD 7960 (AVRD 7958)
No. 62 in E-flat (Pasler 52)
No. 50 in D (Pasler 37)
No. 33 in C minor (Pasler 20
. Mozart Complete Works for Solo Piano AVRD 1248 v.4 c.2 Sonata in B-flat K.333 Sonata in C-minor K.457 12 Variations in E-flat K.353 Fantasy in C minor K.475
. Mozart Complete Works for Solo Piano AVRD 1248 v.4 c.2 Sonata in B-flat K.333 Sonata in C-minor K.457 12 Variations in E-flat K.353 Fantasy in C minor K.475
. Mozart Symphonies No. 40, 41 M1001.M92 K. 550 1960z
. Mozart Symphony No. 41 in C Major "Jupiter" K.551 AVRD 1480
. Mozart Sonatas K.282,283,330,332 and Rondo K.511 AVM23.M69 P5 1967
. Mozart Sonatas and Rondos AVM23.M69 S6 1982
Sonata in D Major K.311
Rondo in A minor K.511
Sonata in A Minor K. 310
Rondo in D Major K.485
. Mozart Piano Sonatas Vol.2 AVRD 1096
Sonata No. 6 in D Major K.284
Sonata No. 7 in C Major K. 309
Sonata No. 9 in D Major K.311
. Nelhybel The Fugue AVRD 1121 no. 1-2
. Nelhybel Tonal Counterpoint AVRD 1122 no. 1-2
. The Art of Paderewski AVRD 7867
Chopin Etude in c minor op. 10 #12
Prelude in Ab op.28 #17
Waltz in C# minor op.64 #2
Etude in C# minor op. 25 #7
Etude in Gb op.10 #5
Schubert Moment Musical in Ab op.94 #2
. von Paradis AVM5.W6 H3 NO. 1-2 Woman's Work "Sicilienne"
. Purcell Dido and Aeneas CD 267
Act 3 (second thin band from end in darker lines) "When I am Laid"
. Ravel, Maurice AVM 1000.R38 C6 1963 NO. 1-4 The Complete Orchestral Works
Pavane Pour Une Infante Defunte
. Reger Variations and Fugue On A Theme of J.S. Bach Op.81 AVM23.R4 OP.81 1986
also Haydn Sonata for Piano Hoboken 16:50 in C Major
Schumann, Robert CD 802 Kinderszenen Opus 15
. Tchaikovsky AVRD7593 Piano Concerto No. 1 (second movement, aug. 6th chords)
BIBLIOGRAPHY
. REFERENCE ML 100 .N485 1986 Randel, Don, The New Harvard Dictionary of Music Cambridge, MA.: Harvard University Press, 1986. The best English dictionary of music in one volume, contains brief definition as well as extended articles, don't look here for information on composers or their works
. REFERENCE ML 105 B16 1978 Baker, Theodore, Baker's Biographical Dictionary of Musicians, 7th ed., Rev. by Slonimsky. New York, N.Y.: G. Schirmer, c. 1978. Contains information on composers and performers, read the informative and amusing preface
. ML 3805 B328 Benade, Arthur, Fundamentals of Musical Acoustics. New York: Oxford University Press, 1976.
. REFERENCE ML 100 .M92 Blume, Friedrich, ed., Die Musik In Geschichte Und Gegenwart. Kassel: Barenreiter, 1948-71.Comprehensive encyclopedia of music in 16 volumes with supplements, good pictures and illustrations, written in German, commonly referred to as MGG.
. MT35 C955 Cundick, Robert and Dayley, Music Manuscript - A Practical Guide. Orem, Utah: Sonos Music, 1971.
. ML160 S125 Sachs, Curt, Our Musical Heritage, 2nd ed. New York, N.Y.: Prentice-Hall, 1948.
A fine general history of music, concise, informative, readable, good for review purposes
. REFERENCE ML100 N48 Sadie, Stanley, ed., The New Grove Dictionary of Music and Musicians. 20 Vols. London: Macmillan, 1980.
The standard work, to be consulted first
The books listed above represent the most basic reference works and other publications which provide a starting place for further reading and research. All of these books are in the Gustavus Libraries.
The Lund Music-Speech Library in the Schaefer Fine Arts Center is located in FAM 319. There is a good representative collection of LP recordings, some CDs and listening facilities. Almost all material catalogued as M (printed scores and music) is housed in the Lund Library. Most of the ML (music literature) and MT (music teaching) material is housed in Bernadotte Library.
Roger Sessions: "The greatest musical imaginations - The Bachs, the Mozarts, the Beethovens - have been those with not only the greatest impulsive power, but also the greatest intellectual mastery."
Piano Proficiency
Theory III -- Mus 211
Fall 2005
Instructor: Dr. Yumiko Oshima-Ryan (yumiko@gustavus.edu)
Piano Proficiency Objectives:
This is the second year of Piano Proficiency instruction. The course will further advance basic knowledge of keyboard techniques. The course assignments will cover the following subjects on a more advanced level: Keyboard Theory and Technique – learning major and minor scales (up to two octaves), harmonizing simple melodies; Reading – sight reading simple scores and transposing them; Creative activity – improvising simple melodies and accompaniment; Repertoire – learning short piano solo works, perform simple keyboard accompaniments. Students will be introduced to practice techniques by playing parts from choral open scores.
Piano Proficiency Requirements:
Piano Proficiency (keyboard) instruction consists of a weekly instructional meeting during the regular theory class time and a weekly check of the assigned materials.
Theory Students – All students registered for MUS 111, 112, 211, and 212 are required to take Piano Proficiency instruction as part of the normal course load. Student scores on checks are factored into the theory grade.
Music Education Students – Piano Proficiency must be passed in order for students to proceed with Music Education Licensure. Music Majors seeking Music Education Licensure not receiving a passing mark of 80% in Piano Proficiency instruction in any semester will be advised to register for Piano Class at the appropriate level as determined by the faculty keyboard instructor. Students who do not have previous keyboard experience are encouraged to register for Class Piano II/III – Mus 121/122 concurrently with their theory registration, beginning as early as possible in the four-semester theory sequence. The Sophomore Review form indicates the student’s status regarding completion of the Piano Proficiency requirement.
Grading (Skills Checks):
Each week the instructor will give a brief lecture on an assignment. These assignments will be tested (skill checks) at the end of the week. The instructor will also give skill checks for the mid-term and the final. There will be approximately 11 assignments each worth 10 points. See course syllabus at (http://homepages.gac.edu/~orpen/) for details on total points and grading.
Theory III (Mus 211)
Piano Proficiency Assignment #1-11 (10 pts each)
Instructor: Dr. Yumiko Oshima-Ryan (yumiko@gustavus.edu), X7303
Week 1: No skill check or assignment this week
Week 2: Handout -- Two Octave scale sheet & Choral open score (two parts)
Assignment 1 (September 12): Scales & Two part score reading
i. Play scales in C major/ A minor (harmonic), G/e and D/b in two octaves,
hands together. (Slow tempo with correct fingerings).
ii. Perform “Medieval Gloria”, hands together.
Week 3: Handout -- Choral open score (two parts)
Assignment 2 (September 19): Scales & Two part score reading
i. Play scales in A/f#, E/c# and B/g# in two octaves, hands together.
ii. Perform “I Shall Not Live in Vain”, hands together.
Week 4: Handout – Three Part texture #1 & #2 (three parts)
Assignment 3 (September 26): Scales & Three part score reading
i. Play scales in F/d, Bb/g, and Eb/c in two octaves, hands together.
ii. Perform Three Part texture #1 hands (upper parts with the right hand and the lower part with the left hand).
Week 5:
Assignment 4 (October 3): Scales & Improvisation
i. Play scales in Ab/f, Db/b-flat, Gb/eb in two octaves, hands together.
ii. Improvise a simple 8-measure melody in contrasting phrases, using one key from above.
Week 6:
Assignment 5 (October 10): Three part score reading & Improvisation
i. Perform three Part texture #2, hands together.
ii. Keep the first phrase of the texture #2 and create a contrasting phrase to pair with the first phrase. Create a two part score with that melody.
Week 7:
Assignment 6 (October 17): Harmonization of a chorale melody (four parts)
i. Benward/Saker p. 78 “Wo Gott zum Haus nicht gibt sein gunst”.
Harmonize the entire melody and perform mm. 1-4 in a slow but steady tempo.
Week 8: No skill check or assignment this week
Week 9:
Assignment 7 (October 31): Harmonization of a chorale melody
i. Benward/Saker p. 78 “Wo Gott zum Haus nicht gibt sein gunst”.
Perform the entire piece in a steady tempo.
Week 10: Handout –Sight-reading and transposing exercises in major keys
Assignment 8 (November 7): Sight-reading and transposing
i. Sight read the score #1.
Instructor will give one new piece for sight-reading skill check.
ii. Transpose the score #2 to a suggested key.
Week 11: Handout –Sight-reading and transposing exercises in minor keys
Assignment 9 (November 14): Sight-reading and transposing
i. Sight read the score #3. Instructor will give one new piece for sight-reading check.
ii. Transpose the score #4 to a suggested key.
Week 12: No skill check or assignment this week
Week 13: Handout – A simple melody for harmonization
Assignment 10 (November 28): Creating an accompaniment for a melody.
i. Harmonize “It Came Upon The Midnight Clear” using secondary dominants, and create an accompaniment.
ii. Play the melody & accompaniment in C major and transpose it in D major.
Week 14: Handout – Instrumental Accompaniment score
Assignment 11 (December 5): Perform a simple keyboard accompaniment for a flute.
i. Perform an accompaniment part of the “Scotch Dance” by L.v. Beethoven.
(Your partner will play the flute section with you during final skill check).
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