There is no homework for Wednesday’s class. Simply work on whatever is giving you the most difficulty in advance of the exam. If you need resources to help you with that, please let me know, and I can provide some based on student requests.

Please sign up for a single 10-minute sight-singing exam slot on the Google Calendar schedule.

For 8am, Friday, Dec. 6, update your self-evaluation. On your self-assessment document, please re-write each section from scratch (copying and pasting is fine, though, if it fits the guidelines below). Don’t worry about losing any material. Everything you erase from a Google Doc is still accessible in the document history. Your new self-assessment should contain all of the same categories. For each category, write no more than a single paragraph that touches on all of the points listed below, and assign yourself a letter grade for every category except for dictation. Please follow the rubric below precisely.

For class on Monday, Dec. 9, practice your melodic sight-singing with the melodies distributed in class on Wednesday. The final dictation melodies will be drawn from the missing pages in those chapters. They will be easier excerpts of the same variety, so the more you practice with these, the better prepared you will be for the final. You may also find the Sight-singing tips on the resources site helpful as you prepare for the exam.

Self-assessment rubric

Your new self-assessment should be sure to touch on every element listed below each category.

Standard rhythms in simple and compound meters (to the subdivision level; Kazez, Unit I)

Your general fluency regarding standard rhythms, as evidenced by your:

• Ability to perform in prepared exercises (video portfolios).
• Ability to perform from sight.
• Ability to recognize by ear with an instrument and/or when not under pressure (Piazza examples, transcription projects and exercises).
• Ability to recognize by ear without an instrument and when under pressure (dictation).

Irregular division of the beat in simple and compound meters (Kazez, Unit II)

Your general fluency regarding irregular rhythms, as evidenced by your:

• Ability to perform in prepared exercises (video portfolios).
• Ability to perform from sight.
• Ability to recognize by ear with an instrument and/or when not under pressure (Piazza examples, transcription projects and exercises).
• Ability to recognize by ear without an instrument and when under pressure (dictation).

Diatonicism in tonal melodies

Your general fluency regarding melodic passages containing only pitches that belong to the home key, as evidenced by your:

• Ability to perform in prepared exercises (video portfolios).
• Ability to perform from sight.
• Ability to recognize by ear with an instrument and/or when not under pressure (Piazza examples, transcription projects and exercises).
• Ability to recognize by ear without an instrument and when under pressure (dictation).

Chromaticism in tonal melodies

Your general fluency regarding melodic passages containing chromatically altered pitches within the key, as evidenced by your:

• Ability to perform in prepared exercises (video portfolios).
• Ability to perform from sight.
• Ability to recognize by ear with an instrument and/or when not under pressure (Piazza examples, transcription projects and exercises).
• Ability to recognize by ear without an instrument and when under pressure (dictation).

Modulation to closely related keys in tonal melodies

Your general fluency regarding melodic passages that modulate to closely related keys, as evidenced by your:

• Ability to perform in prepared exercises (video portfolios).
• Ability to perform from sight.
• Ability to recognize by ear with an instrument and/or when not under pressure (Piazza examples, transcription projects and exercises).

Functional diatonicism in tonal harmonic progressions

Your general fluency regarding harmonic passages containing only chords belonging to the home key, as evidenced by your:

• Ability to perform in prepared exercises (video portfolios).
• Ability to recognize by ear with an instrument and/or when not under pressure (Piazza examples, transcription projects and exercises).
• Ability to recognize by ear without an instrument and when under pressure (dictation).

Functional chromaticism in tonal harmonic progressions (i.e., chromatically altered chords in context)

Your general fluency regarding harmonic passages containing chromatically altered chords (applied dominants, Neapolitan, augmented-sixths, modal mixture), as evidenced by your:

• Ability to perform in prepared exercises (video portfolios).
• Ability to recognize by ear with an instrument and/or when not under pressure (Piazza examples, transcription projects and exercises).
• Ability to recognize by ear without an instrument and when under pressure (dictation).

Performance

• Your general consistency in performing the rhythmic, melodic, and harmonic structures with which you have become fluent.

Transcription

• Your general consistency in recognizing by ear the rhythmic, melodic, and harmonic structures with which you have become fluent.

Dictation

• Your general consistency in recognizing by ear the rhythmic, melodic, and harmonic structures with which you have become fluent when under pressure and without an instrument.

Professionalism

The professionalism that you demonstrate towards the class as a whole (including the goals, the work assigned, your colleagues, and your instructor), including:

• Attendance.
• Consistency and promptness in performing assigned tasks (homework, projects, etc.).
• Preparedness for class meetings and partner/group activities.
• Reliability in group assignments.
• General respectfulness of colleagues and instructor.
• Anything else you think is relevant to this category.

Before class on Wed./Thurs., Dec. 4/5, read the following resources:

• Chromatically altered subdominant chords
• Applied chords
• Modal mixture

Write down any questions you have about any of these resources, and bring them to class. Bring staff paper to class, as well as a device that can display these resources while you are working on dictating/transcribing progressions making use of these harmonic structures.

Final transcription projects are due for Shaffer and Wright sections in Google Drive on Friday, Nov. 22 at 8am.

For Tuesday, Nov. 19, 8am, please do the following:

• Read the Harmonic functions resource.
• Read the Harmonic syntax resource.
• Log in to Learning Catalytics and take the “Harmonic syntax” quiz (session ID 140816).

For class on Wednesday, Nov. 20, take your keyboard performance exercises, draw a circle or box around each instance of prolongation, and label it:

• Change-of-figure prolongation,
• Change-of-bass prolongation,
• Contrapuntal prolongation, or
• Subsidiary harmonic progression.

Bring it to class for discussion. (Note that the chromatic chords on those exercises were not covered in the above reading. Don’t let that confuse you, since you should be able to do the above assignment fine without that—and you may be able to guess what those symbols mean, anyway.)

Also bring staff paper for dictation/recognition work.