Category: musicTheory3
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(musTh211) Assignment 5: Create a WordPress.com Account!
Due Friday, 9/7: Go to wordpress.com, the host of this blog, and CREATE AN ACCOUNT FOR YOURSELF! Once you’ve created an account for yourself, let me know by posting a comment to this assignment. Apologies for shouting, but the discussion capabilities of this blog will work much better if you start responding to lecture notes…
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(musTh211) Assignment 4: Modal Exchange 1
Due Friday, 8/31 Workbook: p. 255, #1, B – K p. 256, #2, A – D, F – H (note: skip E!!!! It’s a Gauldin trick question.)
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(musTh211) Ch. 28: Modal Exchange intro
What the book refers to as “modal exchange” is sometimes referred to as modal mixture, or borrowed chords. The harmonic palette is expanded through the use of scale degrees and harmonies from the parallel major or minor mode. Most modal exchange involves bringing harmonies from the parallel minor into the major mode. The lowered scale…
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(musTh211) Tutoring
Some of you have been asking about tutoring. Anthony Amstutz (a graduate assistant) is available. You can find him managing the computer lab (MU 113), or in his office (MU 109A). His email is saamstutz (at) bsu (dot) edu. (Why do I list email addresses in this way? Providing an actual email link on a…
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(musTh211) Assignment 3: Ch. 27 Analysis
Due Wednesday, 8/29: Workbook: pp. 252 – 3, #7C (with voice-leading reduction), and #7D (mm. 1 – 14) Remember to use a parentheses around the Roman numerals of a harmonic sequence.
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(musTh211) Ch. 27: Analysis of Modulating Works
Review Topics: Harmonic Progression Essential and non-essential harmonies Reductions: Voice-leading: reduce/convert to block chords, or chorale-style harmonies, with all voices present. You may not end up with a strict SATB reduction, but you will usually have to supply a few notes here and there (especially in inner voices) to create logical parts. Usually you will…
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(musTh211) Assignment 2, Ch. 27 Modulation III, Harmonizing Melodies
Due Monday (8/27) Workbook: p. 250, 6B. Remember to raise the leading tone where needed in minor (whether the original key, or one that results from modulation). Also remember that modulations will usually require adding accidentals.
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(musTh211) Ch. 27: Mod. to closely related keys, harmonizing melodies
Harmonizing melodies with modulations to closely related keys involves a bit of long-range planning. Since analyzing the entire melody with scale degrees in the original key won’t help with modulations, you need to start a little more schematically. Start by examining the melody at cadences, specifically looking for the two-note melodic cadence. Figure out the…
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(musTh211) Assignment 1, Ch. 27 Modulation III
Due Friday, 8/24 at the beginning of class: Wkbk p. 246 #2: B, C, D, F, G, H Wkbk p. 248 #4: A, B, D
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(musTh211) Ch. 27: Modulation to Closely Related Keys, pt. 1
Today’s key topics: Closely-Related Key no more than one accidental difference between key signatures new tonic chord of closely-related key is diatonic to original key Common-Chord (Pivot) Modulation pivot chord is usually chord before new dominant pivot chord must be diatonic in both keys Chromatic Modulation usually involves direct motion to a dominant-class harmony (V…