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.