Please bring Kazez, Berkowitz, your keyboard schemata packet, and staff paper to class on Nov. 13.

I have posted the materials for the keyboard prepared performance video portfolio. Please download the exercises, and record a video of yourself performing each one perfectly or nearly so. Create a folder on Google Drive named “LASTNAME Keyboard Performance Portfolio”, upload these videos to that folder, and share the folder with me by class time on Nov. 18. If they are up to standard, this will complete your keyboard prepared performance course objective. If not, you will need to reqork them and resubmit them.

I have also posted the Cycle 4 singing materials, linked from the assessment page under the appropriate categories. If you are comfortable doing so (it is not required yet), you may make videos of those rhythms and melodies to add to your Cycle 3 materials. Once your Cycle 3 and 4 melodies and rhythms are recorded as performed (nearly) flawlessly, you will complete your melodic prepared performance and rhythmic prepared performance objectives. The goal will be for everyone to meet the prepared performance objectives before Thanksgiving break, so that we can focus entirely on listening and sight-reading during the last two weeks of class. Feel free to work ahead as you are able.

For Monday’s class, read the new resource on protonotation. Then find an 8–12 measure passage of music that is 1) in compound meter and 2) in minor with some raised las and tis. Rewrite that melody in protonotation and bring both the original and the protonotation transcription to class.

Bring Kazez and Berkowitz to class on Monday.

If you had difficulty recognizing the keyboard schemata in class, spend some additional time before Monday playing through them and memorizing the sound of each schema.

For Wednesday’s class, play through the Keyboard voice-leading schemata distributed in class. As you play, try to “chunk” these schemata; that is, try to get to the point where you can recognize them as individual patterns, rather than two or three differerent chords put together.

As you play, also try to come up with an explanation for the names assigned to each schema or set of schemata.

Bring the schemata handout and staff paper to class on Wednesday. You will not need Berkowitz or Kazez.

I will be away on Wednesday for a conference. During class time on Wednesday, please get together and either as a whole group or in multiple smaller groups, work on the following assignment. At the end of class, please write a 1–2 sentence email to me explaining what you did/accomplished during class time.

Assignment due Monday, Nov. 4, 8am:

• Choose three of the following rhythmic exercises from Kazez: nos. 70, 73, 76, 83, or 88.

• Choose three of the five melodies on the Recitation 3 guide.

• Practice them until you have mastered them, and record a video of yourself performing each of the six exercises flawlessly, or nearly so.

• Create a new folder in Google Drive, upload your videos (clearly labeled in the file name) to that folder, and share it with me before Monday’s class.

• Bring Berkowitz, Kazez, and staff paper to class on Monday.

Following are the first cadences in each piece of the assigned playlist. If you have any questions, please ask in class or on Piazza.

1) K. 452: 0:27 HC

2) Haydn 105: 0:07 IAC

3) Haydn 89: 0:04 IAC

4) Haydn 105: 0:07 HC

5) K. 283 0:13 PAC

6) K. 545, I.: 0:18 HC

7) K. 545, III.: 0:05 HC

8) K. 550: 0:10 IAC

9) K. 551: 0:08 HC

10) K. 385: 0:05 HC

11) Op. 21: 0:05 HC

12) Op. 2/1: 0:09 HC

13) Haydn 45: 0:16 PAC

Note that the first cadence in a classical piece is far more likely to be a half cadence than any other type. (And keep in mind that I made sure to pick examples that included IACs so that you would have some to practice.) Use this knowledge to guide your listening when given examples from the beginnings of pieces.