Mr wong,
The 1st question of tat sample question, bars 14 and 15 the F double sharp showing the music started change key? is that a enharmonic modulation there?? it really confuse me.
Are u mind explain this? Thank you so much!
Hui Jing
Tuesday, 27 December 2011
Monday, 12 December 2011
FINAL TEST 30/12 9am - 1pm
30/12/11 Final Test 9am - 1pm
1) Harmonic Analysis (6%): 2 short extracts are given. State the tonal relationship between the old and new key and the type of modulation.
It's enough to say that the music modulates from C to G major.
If it's a chromatic modulation, circle the chromatic chord;
if it's a pivot chord modulation, circle the pivot chord;
if it's an enharmonic modulation, circle the chord involved and indicate what is happening, let's say the chord F#-A#-C# is enharmonically changed to G flat-B flat-D flat, you need to to show that clearly.
2) Bach Chorale (6%): A short excerpt of a chorale will be given. Fill in the alto and tenor parts. The bass part is figured, in other words, chords are given to you.
3) Harmonization of Cadences (12%): Harmonize 4 cadences. The soprano is given to you, but no indication of chord progression is given (i.e. no figured bass or Roman numerals).
4) Chromatic chords in SATB (6%): 2 sets of chord progression, each using one chromatic chord as well as the key will be given. You are to layout the progression in 4-part harmony. Obviously, you need to know how to create those chords in any given key, you need to know that these chromatic chords take the same form both in major and minor key.
1) Harmonic Analysis (6%): 2 short extracts are given. State the tonal relationship between the old and new key and the type of modulation.
It's enough to say that the music modulates from C to G major.
If it's a chromatic modulation, circle the chromatic chord;
if it's a pivot chord modulation, circle the pivot chord;
if it's an enharmonic modulation, circle the chord involved and indicate what is happening, let's say the chord F#-A#-C# is enharmonically changed to G flat-B flat-D flat, you need to to show that clearly.
2) Bach Chorale (6%): A short excerpt of a chorale will be given. Fill in the alto and tenor parts. The bass part is figured, in other words, chords are given to you.
3) Harmonization of Cadences (12%): Harmonize 4 cadences. The soprano is given to you, but no indication of chord progression is given (i.e. no figured bass or Roman numerals).
4) Chromatic chords in SATB (6%): 2 sets of chord progression, each using one chromatic chord as well as the key will be given. You are to layout the progression in 4-part harmony. Obviously, you need to know how to create those chords in any given key, you need to know that these chromatic chords take the same form both in major and minor key.
Wednesday, 7 December 2011
Friday, 2 December 2011
classification of cadence
hello guys..
can someone explain to me about the cadence? it is very difficult to me to understand in English. can anyone please explain in Malay..just for my understanding.. ^ ^ tq..
rushdi~
can someone explain to me about the cadence? it is very difficult to me to understand in English. can anyone please explain in Malay..just for my understanding.. ^ ^ tq..
rushdi~
Thursday, 24 November 2011
Wednesday, 23 November 2011
Friday, 11 November 2011
Assignments.
eric here. some of the things in the assignments are not yet covered in the class, m i right? when are we supposed to hand in our assignment?
Thursday, 3 November 2011
Grading Guidelines for Your Counterpoint Assignment
Generally speaking, the counterpoint exercises are graded according to the following criteria.
You will find that careless and accidental mistakes are not at all that critical, however, conceptual ones are.
It is much more important that you demonstrate understanding of the rules as well as the style through your solutions: apart from correct treatment of consonances and dissonances, the melodic writing should aim at contrary motion as much as possible.
Lastly, being consistent counts!! Some of you might have done one or two exercises well but screwing up the rest.
5 non-conceptual, minor mistakes
demonstrates understanding of treating the dissonances and melodic writing
consistent throughout the all the species exercises
4 some conceptual mistakes
an overall understanding of treating the dissonances and melodic writing, with small mishaps here and there.
somewhat consistent throughout
3. counting in all the mistakes and overall impression, your work tells me that you have a rough idea of how to treat dissonances and perhaps some sense of melodic writing.
you show some understanding, but it seems a bit like a lucky draw.
2. generally your work demonstrates insufficient understanding, but there seems to be a faint hope at the end of the tunnel.
1. Hmm....You are missing the boat. Before you float away to some distant shore, please seek help from your pals!
You will find that careless and accidental mistakes are not at all that critical, however, conceptual ones are.
It is much more important that you demonstrate understanding of the rules as well as the style through your solutions: apart from correct treatment of consonances and dissonances, the melodic writing should aim at contrary motion as much as possible.
Lastly, being consistent counts!! Some of you might have done one or two exercises well but screwing up the rest.
5 non-conceptual, minor mistakes
demonstrates understanding of treating the dissonances and melodic writing
consistent throughout the all the species exercises
4 some conceptual mistakes
an overall understanding of treating the dissonances and melodic writing, with small mishaps here and there.
somewhat consistent throughout
3. counting in all the mistakes and overall impression, your work tells me that you have a rough idea of how to treat dissonances and perhaps some sense of melodic writing.
you show some understanding, but it seems a bit like a lucky draw.
2. generally your work demonstrates insufficient understanding, but there seems to be a faint hope at the end of the tunnel.
1. Hmm....You are missing the boat. Before you float away to some distant shore, please seek help from your pals!
Tuesday, 1 November 2011
Test on the 25th November
After some thoughts and looking at your assignment, this will be your test format:
1. Non-Modulatory, Tonal Melodic Writing on a Given Rhythm (6%)
- It will be in major key to avoid complications of minor key.
Key will be given to you. But you need to figure out the key signature yourself.
- Where you need to to indicate what sort of cadences are being used - the name, i.e. imperfect cadence and the Roman numerals.
- There are only two needed, one at 4th bar and one at the end, and obviously you need to know what cadences to use. Imperfect or interrupted cadence at the middle of the phrase and plagal or perfect cadence at the end of the phrase.
- The melody is basically 8 bars long. But through repetition of the rhythmic pattern, you are expected to see what structure the melody has (in other words, how the sub-phrases are organized.). To be more specific, sometimes you get AAB where the sub-phrases are organized in the proportion of 2+2+4, or simply 4+4, where the start of each half has similar rhythm.
2. Counterpoint in ALL Four Species on a given C.F. (12%)
- Each species is given a different C.F.
- This is NOT the fragment exercises you have been doing, though it is similar, it is going to be a complete C.F, so your start has to be made up of perfect interval.
- The range of the voice and whether the voice is to be added above OR below the C.F. will be specified.
3. Harmonic Analysis of a Bach Chorale (6%)
- Label the chords where asterisks are given using Extended Roman system. In other words, your labeling should show the type of chords used i.e. major, minor, diminished, augmented chords, the appropriate 7th chords (note that only supertonic, dominant and diminished 7th chords are accepted as independent chords) and their inversions. In other words, no chord should be analyzed as I7 or IV7.
- If there are modulations, the new keys will be given to you. Should you see a chord that you can't find within the specific key, that means it is a chromatic chord.
- No naming of non-harmonic notes is required, but logically, in order to label the chords, you are expected to be able to tell the non-harmonic notes apart from the harmony.
4. Harmonic Analysis of a Song (6%)
- Just as before, label chords where asterisks are given using Extended Roman system.
- However, here, it is your task to figure out if there are modulations or it may simply be the use of chromatic chords.
- Text in foreign language and English translation will be provided. You will be asked some simple questions on how the music is used to express the text, either on specific words or the mood of a passage. The answers required are just short and straightforward.
The total mark is 30%, exactly one third of your final grade.
I haven't quite worked out all the details of the test yet. So they will be posted here as time comes. Feel free to post your respond here should you feel that this way of assessing is problematic or should you have any questions. I know that we haven't quite done any exercises on the 4th Species, but will make sure you get another exercise on that.
If there are questions, post them here or voice them out in class when we next meet.
1. Non-Modulatory, Tonal Melodic Writing on a Given Rhythm (6%)
- It will be in major key to avoid complications of minor key.
Key will be given to you. But you need to figure out the key signature yourself.
- Where you need to to indicate what sort of cadences are being used - the name, i.e. imperfect cadence and the Roman numerals.
- There are only two needed, one at 4th bar and one at the end, and obviously you need to know what cadences to use. Imperfect or interrupted cadence at the middle of the phrase and plagal or perfect cadence at the end of the phrase.
- The melody is basically 8 bars long. But through repetition of the rhythmic pattern, you are expected to see what structure the melody has (in other words, how the sub-phrases are organized.). To be more specific, sometimes you get AAB where the sub-phrases are organized in the proportion of 2+2+4, or simply 4+4, where the start of each half has similar rhythm.
2. Counterpoint in ALL Four Species on a given C.F. (12%)
- Each species is given a different C.F.
- This is NOT the fragment exercises you have been doing, though it is similar, it is going to be a complete C.F, so your start has to be made up of perfect interval.
- The range of the voice and whether the voice is to be added above OR below the C.F. will be specified.
3. Harmonic Analysis of a Bach Chorale (6%)
- Label the chords where asterisks are given using Extended Roman system. In other words, your labeling should show the type of chords used i.e. major, minor, diminished, augmented chords, the appropriate 7th chords (note that only supertonic, dominant and diminished 7th chords are accepted as independent chords) and their inversions. In other words, no chord should be analyzed as I7 or IV7.
- If there are modulations, the new keys will be given to you. Should you see a chord that you can't find within the specific key, that means it is a chromatic chord.
- No naming of non-harmonic notes is required, but logically, in order to label the chords, you are expected to be able to tell the non-harmonic notes apart from the harmony.
4. Harmonic Analysis of a Song (6%)
- Just as before, label chords where asterisks are given using Extended Roman system.
- However, here, it is your task to figure out if there are modulations or it may simply be the use of chromatic chords.
- Text in foreign language and English translation will be provided. You will be asked some simple questions on how the music is used to express the text, either on specific words or the mood of a passage. The answers required are just short and straightforward.
The total mark is 30%, exactly one third of your final grade.
I haven't quite worked out all the details of the test yet. So they will be posted here as time comes. Feel free to post your respond here should you feel that this way of assessing is problematic or should you have any questions. I know that we haven't quite done any exercises on the 4th Species, but will make sure you get another exercise on that.
If there are questions, post them here or voice them out in class when we next meet.
Tuesday, 25 October 2011
Question
May I know the question that we copy from white board is consider 1 bar per question or 3 bar for the whole question?
I quite blur with the starting and the ending, is that every bar must start and end with perfect consonance? Or only for 1st beat of bar 1 and last beat of bar 3?
thank you!
Hui Jing
I quite blur with the starting and the ending, is that every bar must start and end with perfect consonance? Or only for 1st beat of bar 1 and last beat of bar 3?
thank you!
Hui Jing
Friday, 21 October 2011
Tuesday, 18 October 2011
Expectations of Your Assignment on Orchestral Instruments
Presentation:
· Clear layout, so we see what your content is about and the emphasis in the information you provide. And when a topic is given on each section, do not diverge from the given topic and start mentioning other irrelevant information.
Your content:
· Indicate the range and the clefs each instrument uses, whether or not your pitch is written or sounding notation if it is a transposing instrument. Instrument such as horn has a long standing tradition of using treble and bass clef, each transposes differently.
· Tell about the characteristics of sound each instrument has across their range. The purpose is that so when you compose melodies for the instrument you know what to write in these respective registers.
· The role each of these instrument plays in the orchestra – you are looking at some typical ways in which these instruments are composed for – and therefore you need to demonstrate the knowledge of what each instrument does best and how they sound in different register. And ultimately, what role does each group play within the orchestra.
Linguistic command – grammar and the way sentences are structured, as well as your skills to organize facts and your thoughts is paramount.
Any other background information you provide is fantastic. It is only to your own good that you read about it.
Friday, 7 October 2011
Erbarme Dich from Bach St Matthew Passion
Erbarme dich, Mein Gott, um meiner Zähren willen! Schaue hier, Herz und Auge weint vor dir Bitterlich. Have mercy Lord, My God, because of this my weeping! Look thou here, Heart and eyes now weep for thee Bitterly. |  |
Thursday, 29 September 2011
Some Manuscripts of Old Notation
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| Staffless neume notation |
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| Heighted neume notation |
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| Neume notation with one line (red colored) as pitch reference |
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| Add caption |
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