We are about to have our final two classes! Hard to believe our semester is almost over.
Please remember to bring your laptop to class tomorrow (Monday), for we'll start by having you fill out course evaluations. Here are some good things to know about course evaluations:
As with any other writing, the more specific you are, the better. If something was very valuable for you, or if you have a suggestion or complaint, be as clear and descriptive as you can.
When faculty are being reviewed for tenure and/or promotion, every evaluation is read by two different committees, the Vice President for Academic Affairs, and sometimes the President. They really do matter.
I read them all and appreciate the feedback. I always learn something.
As we discussed on Friday, we've explored a variety ways of "musicking," including the American "minimalist" approach, inspired and influenced by non-Western music, especially music from Africa and India. Music rooted in repetitive cycles and patterns can alter the brainwave patterns of listeners and players. Some drummers call it "drummer's high" or "drummer's trance."
In our group project, we are experimenting with polymetric cycles (i.e., different meters happening at the same time), and with a piece that is partially composed and partially improvised. One of the most famous minimalist pieces is Terry Riley's "In C," the score for which I distributed in class on Friday. If you click on that link, you can download both the score (if you've misplaced it) and the performance instructions.
To me, it's a really fascinating way of organizing people musicking together. So here are several different versions:
Finally, here's the original recording:
Amazing how differently it can be done! Listen/watch to a bit of each and post a comment.
For the vocalization element of our piece, we can use various rhythmic patterns of the "kecak" to create a dense texture that would sit beneath the keys. Our use of non-sensible sounds can vary, and switch up throughout the track to add variety. Listen to the link above and pay attention to the different sounds produced with only vocalization. If we can execute this in a similar manner, and in harmony with the boomwhackers-- I think we will have a hit.
I've been imagining a group project or projects you/we can do in our last two weeks. We have only 5 more classes together, since classes end on Thursday next week.
We had a very interesting time exploring the melodic structure of "Amazing Grace" and simple harmonies that can fit with it. That's a very Western (as in European/American) style of music. Here are a couple of clips of music that is very American, but inspired by the repetitions in African music in particular.
I like the clip below because it is people your age doing something absolutely extraordinary. And I think we could create some music inspired by this slowly-changing and deceptively simple music.
Unfortunately the window on my iPad is going crazy and won't let me post anything the video, so if after posting it I can't add by editing the post, I'll do another. It's also not showing the video in the preview window, so it you don't see it, it's here: http://youtu.be/CHVMVDhC-UA.
That's a promo video for a CD of a performance by college-age musicians. There's a full performance here: http://youtu.be/ZXJWO2FQ16c. Watch the first clip and then a chunk of the second, and POST A COMMENT about your reaction.
What I'm imagining is using a combination of drums, pianos, voices, and boomwhackers.
I was SHOCKED to discover some of you haven't been doing your homework when I haven't been collecting it. So NO MORE MR. NICE GUY.
So . . . . I will collect and grade the homework due Monday (which I just emailed you) AND your analyzed copy of "Amazing Grace." (See previous posts.)
Your homework for tomorrow (Friday 4/19), as was announced in class, is to:
1) Compose a one-measure, two part set of complimentary rhythms (like we did in class Wednesday, but with two parts rather than four). Since you are notating rhythms only, you can write this on any kind of paper--it does not have to be staff paper.
2) In your copy of the harmonized version of Amazing Grace (if you lost it, there's a link to it in the previous post), add the superscript numbers which indicate inversions for those chords which are inverted (i.e., the root of the chord is not in the bass, the lowest-sounding note).
Remember, for a first-inversion triad-based chord, put a superscript "6" after the Roman numeral. For a second-inversion triad-based chord, it's a 6 over a 4. (You can see better in the video.) When typing in a program where superscript numbers aren't available, or stacking numbers isn't a possibility, things are often written like this" I 6 (for a first inversion I chord) and I 6/4 (for a second inversion I chord).
For 7th chords, the numbering for inversions is different, because the intervals are different, given that seventh above the root makes for additional intervals.
Using V7 chords as an example, the we label inversions as follows:
As I explained in class, for Wednesday you are taking the first steps in doing a harmonic analysis (i.e., figure out and labeling the chords) of a fully written-out piece. In this case, it's an arrangement of "Amazing Grace." If you weren't in class, or misplaced your copy, it's available here.
In this case, many of the chords are not written as tightly-packed, or "closed position," triads and seventh chords; most of the time they are more spread out, in what music theory people call "open" position. They use the same notes, but they are just spread out.
In the chords which are based on triads but have four notes, one note of the triad is doubled. In the very first chord, for example, there are two Gs in the bass clef part (which would be played with the left hand by a keyboard player). It's a G chord, so we say "the root is doubled."
Here's an explanation of close(d) and open position chords:
Your tasks:
On the "Amazing Grace" arrangement,
1)Write the pop chord symbols above the treble-clef staff: Determine what each chord is, and write the pop chord symbol above the treble clef. When the chord changes, write a new symbol. If only the spacing changes, you don't need to write a new symbol. if the inversion changes, write a new symbol, using a slash chord as necessary.
2) Write in the Roman numerals below the bass-clef staff. You'll have already determined the root of each chord. Under the bass-clef staff, write the Roman numeral that corresponds to the scale degree of the root of the chord. Watch the video for clarification.
Just sent you the homework. In addition to writing some root-position triads and seventh chords, you get to label some first inversion chords using the "slash chord" system used in pop and jazz notation, and write some first-inversion chords as well.
Remember, a first-inversion chord is one where the lowest note sounding (and/or written) is the third of the chord. We call the lowest note sounding the "bass" note, so we also say, "the third is in the bass."
In the slash chord notation system, the chord is labeled just as we have been doing, followed by a slash, then the note in the bass. For this assignment, the third is always in the bass.
So a C major chord in the first inversion is written as C/E. It actually makes a lot of sense.
A G7 chord (G-B-D-F) in the first inversion (B-D-F-G) is written as G7/B. Or if you have superscripting easily available, G 7/B.
Videos!
Writing first inversion triads and seventh chords:
I sent you the homework for tomorrow (Fri. 4/5) earlier this afternoon. In it, you're labeling and writing triads, as you did for Wednesday, and also 7th chords, which we learned about on Wednesday.
We're dealing with only one form of 7th chords at this point--a major triad, with an additional note a minor third above the fifth, which is also a minor 7th above the root. This is called a "major-minor" 7th chord, because it is a major triad with a minor seventh (above the root. It is also called a "dominant 7th" chord, because it is the type of 7th chord that occurs when one stacks thirds on the 5th note (i.e., the dominant) of a major scale.
Here's a video on these 7th chords:
We also are starting to deal with the phenomenon of "inverted" triads (other chords get inverted, too). We say a chord is inverted when a note other than the root is the lowest-sounding note. In the homework, there are a series of triads where I've written the triad so the 3rd is on the bottom, with the 5th immediately above it, and then the root a P4 above the 5th.
In the homework, all you need to do is rewrite the triad so the root is on the bottom, and then label the triad. What you're doing, then, is "deinverting" the triad. Here's an explanation if you need one:
I've emailed you the homework for Wednesday. In it you'll first identify 10 triads, using the pop chord symbols (explained on the sheet, below, and in the video).
Write down the name of the root (the bottom note) first, using a capital letter and a sharp or flat sign as needed.
Then determine what the quality of the triad is. If it's major, just leave the capital letter. If it's minor, add a "m." If it's diminished, add a superscript "o." If it's augmented, a superscript "+." (See the video, below, and the homework sheet itself.)
Triads are presented at the beginning of Chapter 8 of the Balensuela. The pop chord symbols are not in the Balensuela. There is a musictheory.net lesson, too. The pop chord symbols aren't there, either. They is a good chart of them here. (That chart has variants for some of the symbols; we'll stick with the ones above/below.)
Important terms:
Interval: TWO notes
harmonic interval: two notes played/sung simultaneously
melodic interval: played sung one after another
Chord: three or more notes played or sung simultaneously
Triad: a chord that
has three notes
is constructed with thirds
Root: the bottom note of a triad
Third: the middle note of a triad, a third above the root
Fifth: the top note of a triad, a fifth above the root (and a third above the third!)
Major triad:
M3 from root to third
m3 from third to fifth
P5 from root to fifth
pop chord symbol: name of root (capital letter) ex: D or F#
Minor triad
m3 from root to third
M3 from third to root
P5 from root to fifth
pop chord symbol: name of root (capital) plus lower case m. Ex: Dm, F#m
Diminished triad:
m3 from root to third
m3 from third to 5th
d5 from root to 5th
pop chord symbol: name of root (capital letter) plus superscript o. Ex: Do, F#o.
Augmented triad:
M3 from root to third
M3 from third to fifth
A# from root to fifth
pop chord symbol: name of root (capital letter) plus superscript +. Ex: D+, F#+.
Sorry for the late homework, which should have just received via email. We'll go over it, and the minor scales from Friday's homework, in class tomorrow (Monday) morning.
We've now reached the point where if you aren't fluent in both clefs, and you don't remember that there's only a half-step (and no black key on the keyboard) between B/C and E/F, you're going to find this very confusing.
If you're not fluent in a clef, go through all the exercises and the "trainer" at www.musictheory.net.
If you don't remember E&F and B&C, then say them over and over every day!
On Friday, we learned 2 methods for identifying and writing intervals.
The whole/half step system
One is to remember how many whole and half steps there are in each interval.
Steps Intervals--most common and (less common enharmonic equivalent)
0 P1 (d2)
0.5 m2 (A1)
1 M2 (d3)
1.5 m3 (A2)
2 M3 (d4)
2.5 P4 (A3)
3 A4 and d5
3.5 P5 (d6)
4 m6 (A5)
4.5 M6 (d7)
5 m7 (A6)
5.5 M7 (d8)
6 P8
I prefer to think in terms of whole and half steps. Some people find it easier to remember the total number of half steps. If you are one of them, multiply each number of whole steps above to get the number of half steps. (So a m2 is 1 hs, a M2 is 2 hs, a M& is 11 hs, etc.)
Writing/Identifying 4ths and 5ths using Whole/half step system:
(Watching this video I see that when I finish writing the augmented fourth, I proudly proclaim it an augmented 2nd--it still is a fourth! Similarly, at one point I write an e-flat and call it an "e" a couple of times before I start calling it an e-flat. It's an e-flat all along! I need a producer/director, I guess.)
The major scale system
The other is to think in terms of a major scale, with the bottom note as the tonic. In a major scale, from the tonic to any note in the scale, the quality is either major or perfect. So 1-2 is a M2, 1-3 a M3, 1-4 a P4, 1-5 a P5, 1-6 a M6, 1-7 a M7, 1-8 a P8.
So when identifying an interval, use the the bottom note as the tonic, determine the key signature for the major key, and see if the top note is in the major key. If it is, the interval is major or perfect. If not, determine if it's bigger or smaller and then you can easily name the quality.
When writing an interval, if the bottom note is given, first write the generic interval. Determine the key signature using the bottom note as the tonic, then adjust the top note as needed. If the top note is given, write the generic interval, determine the key signature for the bottom note, see if the top note is in that key (which will tell you the quality of the interval as you've just written it), and if necessary adjust the bottom note so the interval is the correct size.
I've sent you an email with the homework for Wednesday 3/6. Here are video reviews of the material we covered. (A previous post has a video on writing and identifying generic intervals.)
Identifying and Labeling Relative Major and Minor Key Signatures
Tetrachords!
Writing Ascending Melodic Minor Scales Using Key Signatures and Accidentals
There are three commonly used forms of the minor. We have started with the natural minor. In it, there are minor seconds (half steps) between the 2nd + 3rd and the 5th + 6th scale degrees.
Yes, that means between the supertonic and the mediant, and between the dominant and the submediant.
Quick! What's the submediant in B-flat minor?
Just kidding. You'll get there, though.
Meanwhile, a quick review on writing natural minor scales:
did drilling on note names (you can work on this using the sheets I've given you and given you links for)
practiced rhythms (the practice rhythms I sent you before the quiz, which you can do along with the videos I posted)
learned how to identify notes on the piano keyboard, and the relationship between the white and black keys (see pages II:5-6 of the Balensuela text)
learned about whole steps and half steps (see page II:7 of the Balensuela)
learned about sharps (page II:7)
learned about scales and scale degrees (See pages IV:1-3)
identified where (i.e., between which pairs of scale degrees) there are whole and half steps in a c major scale (which uses all natural/white key notes) (page IV:2)
learned the v-shaped marks classical musicians use to identify half steps when analyzing music¸
and learned how to use sharps to produce that same sequence of whole and half steps when starting on D, E, G, A and B
Notes:
For identifying the white notes on the keyboard, remember that "C" is just to the left of the pair of black notes. Here's a video that explains it pretty well: http://www.youtube.com/watch?v=Ncl0Bdu6Smg.
Half steps: Adjacent notes on a piano keyboard, when you look at the rear of the keys. If there is a black note between two white keys, the black note is a half-step from the white keys. There's an excellent explanation here: http://www.youtube.com/watch?v=pz3QCNK3z9c
Scale degrees: In class we used numbers only: 1st degree, 2nd degree, etc. On Monday we'll learn the names listed on page IV:2.
Major scale whole/half-step patterns: There is a half-step between scale degrees 3+4 and 7+8. The eighth scale degree has the same name as the first scale degree, but is an octave higher. The video linked under "half steps" above also explains this pattern very clearly.
On Monday:
We'll learn about flats (which are covered in the Balensuela pages listed above), enharmonic equivalent pitches, and using flats to make major scales. We'll may get to key signatures. Notice that we've jumped to Chapter 4. As I mentioned, I've found that I prefer presenting some of this material in a different order.
Homework for Monday:
I've shared the link with you, so it's in your Google drive. This will be a collected and graded assignment.
Some of you are a bit shaky on reading performing rhythms. Don't worry, be happy! And do these rhythms along with me.
If you can do these, you'll do great when you come to read a rhythm for me. If you can do the rhythm on "ta" (or any other neutral syllable) you'll get most of the credit on that part of the quiz. If you can do the rhythm AND the conducting pattern you'll get a little more credit, and if you can do the counting system (one-and-two-and, et.c, or one-la-lee, etc.) even more.
You need the practice rhythm sheets I emailed you earlier.
Everything else on the quiz will be like the homework assignments and the dictation exercises we've done in class. So look through those. (I will also have you verbally name notes in both clefs for me.)
Print out and complete the following pages in the Balensuela: I: 11-12 and I: 23-24
Note: For pages I: 23-24, you'll be adding a second phrase to one already presented to you. For each example, you'll complete the second phrase by repeating the first with a slight amount of change, repeating it with a more significant amount of change (varying it), or writing something that contrasts with the first phrase.
Tap or clap the printed rhythm first a few times. Then clap/tap your second phrases so you have something you like. Repeat that phrase that you like a few times so you can remember it. Then write it down.
That will work a lot better, and be more creative, than if you just write notes that add up mathematically.
Note reading:
As I said, you need to get very good at this! If you're not fluent in both clefs yet, you can be soon. It just takes a small (or smallish) amount of practice every day.
It doesn't work if you cram it.
It works well if you do it every day. When I was in music school we had to learn 7 different clefs, and I became fluent in them all (as did the rest of the class). So you can certainly become fluent in 2!
You might also find it helpful to print out the treble and bass clef worksheets at oneminutemusiclesson.com. (I'd only print out the middle page, not the instructions and the ad.)
You can use these to recognize patterns. The process suggested in the instructions, where you first write in all the notes, then fewer, and finally none, is a good idea.
Questions? Need help?
Feel free to post any general questions in a comment below. You can also email me and/or make an appointment to come see me. I don't have regular office hours set yet, but I'm happy to meet with you individually or in small groups when needed.
On Monday we began the process of getting to know each other, drummed together, and started learning traditional rhythmic notation.
Tomorrow (Wednesday), we'll continue work on rhythmic notation as look at how pitch is notated in the Western classical tradition. In FMT (the Balensuela book available in Google docs), read:
This is our class blog, in which all of us will have the opportunity to share ideas, links, videos, questions, answers, comments, etc., with each other.
I will often post homework assignments here.
For now, add a comment with an introduction of yourself. Include:
Where you are from.
What year you are in at DePauw.
Your major, declared or intended (or if you are still exploring, tell us that).
Your musical background, both as a music maker and as a listener.
