Don't forget that you have an in class "performance" from the Berkowitz on Tuesday.  I don't have the exact page numbers for you, but you should select something from Section II of examples from the literature and perform it on your major instrument.  That means most of you are singing, but we'll have at least a few instrumental performances.  Piano majors (Kayla & Ashley) need to prepare an advanced selection from the Sing & Play chapter.

The general format for the AP exam is as follows:

1.  Sing ascending & descending major and 3 forms of minor scales on solfège

2.  Sing I-IV-V-I and 1-IV6-V6-I progressions (based on the Krueger charts)

3.  Sing a selection chosen by Dr. James from the Berkowitz, pgs. 22-24 (113-128) or 31-32 (159-163)

You will be allowed to use your books and may “prepare” the selections with solfège, numbers, or on “la”

 

The 7 of you who successfully completed the last journal assignment should:

1.  Check the comments section of your wiki page to see what "activities" I have planned for you... mwhahahaha!

2.  Sing a selection of your choosing from the Berkowitz, pgs. 22-24 (113-128) or 31-32 (159-163) understanding that you will be expected to be fairly (like very) accurate in your "performance" of the selection

 

I do an unfortunate amount of supplementing for my written and aural theory classes.  My "philosophy" about textbooks is this - they should be useful for instruction and learning.  Students should be able to turn to their textbooks outside of class to learn MORE than what was given to them in class.  Music theory textbooks should have lots of exercises that trigger, enhance, and synthesize kinesthetic, aural, and visual learning patterns.  Well, I could go on and on . . . on this tangent . . . so I'll get to my point.

 

Music Theory Texbooks I like:

• Kostka & Payne - Tonal Harmony:  We used this at Rice University, and it served me well as a student.  It continues to serve me well as a teacher.
• Roig-Francoli - Harmony in Context:  If you prefer to teach music theory from a "historical" pedagogical perspective, this is the book you should use!  Contact McGraw-Hill for a review copy (sorry students, you cannot apply for a review copy).
• Benjamin, Horvit, Nelson - Music for Analysis:  Most textbooks only provide 4-8 measure "snippets" of literature examples.  Most students need to see more of the musical example for the concepts to make sense.  (I don't like the accompanying CD for this book because individual examples don't always get their own "track".)

Aural Theory/Perception Texbooks I like:

• Krueger - Progressive Sight Singing:  The title is inaccurate . . . this is much more than a sight singing book.  This is a very good aural theory/perception textbook, and I will likely make it mandatory for my section of aural perception next year.
• Kazez - Rhythm Reading:  Because if you don't get rhythm . . . you won't get music!
• Other books I turn to less frequently include Benward & Kolosick's Ear Training: A Technique for Listening (which is not useful for self-study) and Mayfield's Theory Essentials, vol. 1.

If anyone reading this has recommendations, please leave a comment!  I'm a new textbook junkie.

Today we focused on irregular divisions of the beat (3 against 2 and 2 against 3) in both simple and compound duple meters.  Do not confuse irregular divisions of the beat with irregular meter!!

 

An example of an irregular division of the beat in simple meter is the TRIPLET.

An example of an irregular division of the beat in compound meter is the DUPLE

An example of an irregular meter is 5/8 or 10/4 - these meters are not duple, triple, or quadruple!

 

As I stated in class, I recommend you reinforce your work on irregular divisions through the following activities:

1. Review the handouts (Krueger & Kazez)
2. Practice selections from Krueger 46-51
3. Practice selections from Krueger 297-300
4. For those of you who don't have the Krueger, you'll have to "hunt and peck" your way through the Berkowitz to find something comparable . . . or work with a classmate

Also . . .

1. Practice tapping 2 against 3 and/or compose 2-handed rhythm exercises
2. Practice cross-rhythms with classmates in small groups

The class plan for Tuesday, February 13 included:

 

1.  Pentachord exercise in major mode (sing on numbers)

Keep in mind the type of triad that occurs naturally on each scale degree in major (I, ii, iii, IV, etc.)

 

2.  Canons in major (Krueger, 199)

Canon melody sung alone = monophonic texture

Canon sung in "parts" = polyphonic texture

 

3.  Minor mode melodic 3rds exercise (1-2-3, 2-3-4, 3-4-5, etc.)

Practice in natural and harmonic minor modes

This should lead to proficiency in the minor mode pentachord exercises (Krueger), so if you have trouble with the pentachords, start with THIS exercise

 

4.  Canons in harmonic minor (Krueger, 215-217)