MUS211 - MUSIC THEORY III - DR. ORPEN

TOPICS AND ASSIGNMENTS

FALL SEMESTER
RR = Rhythm Reading SS = Sight Singing SC = Skills Checks

Piano Proficiency Assignments are given in class on Mondays. Kraft assignments correspond with Dictation Quizzes. Skills Checks will normally be administered on Fridays during class time.

Kraft Ear Training = KET : Rhythm Etude Reader = RER
Schedule

Week 1, Week 2, Week 3, Week 4, Week 5

Week 6, Week 7, Week 8, Week 9, Week 10

Week 11, Week 12, Week 13, Week 14, Week 15
WEEK 1

Sept. 6-9

REVISIT FIRST YEAR TOPICS

BENWARD/SAKER CHAPTER 1: LATE RENAISSANCE POLYPHONY
PRESENTATIONS TUESDAY and WEDNESDAY – Syllabus on web at http://www.gustavus.edu/~orpen, go over routines for Lab and Skills, choose practice partners; Study Figure 1.31 to discover the characteristics of this two-voice polyphony. Check what the text states to see if it is true, find examples. We will devote our time to analyzing examples of this style. (see Binary Powerpoint)

FRIDAY – WE HAVE CLASS! Assignment 1.1 in text for class discussion (no points)

General Review: Scales, Intervals, Triads and Seventh Chords, Chorale-Style Part writing, Consonance and Dissonance, Diatonicism and Chromaticism, Melody, Rhythm, Form, Linear Harmony, Cadences, Dominant and Pre-dominant harmony, Non-harmonic tones, Tonicization, Modulation; use Turek Anthology Three Menuets and three Kinderscenen p. 81-83 and 323-326 as review materials.
TEXT ASSIGNMENTS TUESDAY and WEDNESDAY - Read syllabus and ask questions about anything you don’t understand; read Chapter 1 - p. 3-22; class discussion regarding observations of Fig. 1.31 in text - primarily, what are its melodic and rhythmic characteristics?

FRIDAY - Prepare for class discussion: Assignment 1.1; and Turek, p. 81, BWV Anh. 115 - Do harmonic analysis using Roman Numeral Analysis Symbols (inclusive figured bass), identify any chords that are unfamiliar to you by quality and relationship to the key, label non-harmonic tones, identify form. Also: Turek, p. 82-3 and 323-326 determine the form for the two remaining Menuets and the three Kinderscenen (no points, share findings in class) Do Test Yourself 1 in Workbook
PURPOSE 1) to understand the history of music as a quest to 'enable, enoble, and lift' the human spirit. Guided by artistic principles and made manifest by artful craft, composers organize sound and silence over time in a meaningful and memorable way.
2) to understand music as a personal expression guided by 'theory and practice' but often exhibiting a restlessness and even resistance to "rules" and conformity
3) to understand Late renaissance Polyphony as a style of writing modal music guided by the careful control of consonance and dissonance in a polyphonic texture that is not influenced by the yet to come functional harmony
4) to learn about the stylistic practices of Late Renaissance Polyphony in two voices
5) to renew the process of critical thinking in theory and reinforce the use of proper terminology
6) to become reacquainted with classmates and the Lab, and chart the course for the semester
7) to review and discriminate binary, rounded binary, and ternary forms
SKILLS ASSIGNMENTS No skills checks or skills assignments this week

**THIS YEAR: CHECKS ARE TESTED IN THE SAME WEEK AS THE ASSIGNMENT IS GIVEN.

STUDENTS WILL BE ASKED FOR THE DEFINITIONS OF TEMPO AND OTHER PERFORMANCE MARKINGS FOR EXERCISES IN THE OTTMAN! (Check the Appendix of Musical Terms in the Ottman or check a music dictionary - Harvard, Groves, etc.)

Ottman = Review rhythm reading and sight singing Chpts. 1-12 on your own
to Top Return to MUS211 Home
WEEK 2

Sept. 12-16

 CHAPTER 2: TWO-VOICE EIGHTEENTH-CENTURY COUNTERPOINT
TESTS FRIDAY - Skills Check
PRESENTATIONS MONDAY – Skills Assignments, pass out Invention Analysis Worksheet (hand-out, scholastic profile); introduce MACRO Analysis

TUESDAY – two-voice eighteenth-century counterpoint; examine Fig. 2-4 Invention #4 as a stylistic model; functional harmony comparison to Fig. 1.31; 16th-Century Polyphony and 18th-Century Counterpoint

WEDNESDAY – present analysis of Invention #1 (workbook 2.A p. 5 and 127, and in Turek p. 101), listen to recording, discuss different tempos used by various artists; go over Invention #8 in class (Assign. 2.1) present analysis of Invention #13 (Turek p. 105) in class, listen to recording, present invertible counterpoint
TEXT ASSIGNMENTS MONDAY - Memorize scholastic profile, study MACRO Analysis process and symbols

TUESDAY – have read Chapter 2 - p. 29-37

WEDNESDAY – have read Chapter 2 - p. 37-39; begin analysis of Invention #1 (mark-up workbook and transfer final version to Turek p. 101 after class); begin analysis of Invention #8 Assign. 2.1 for class discussion; begin analysis of Invention #13 (Turek p. 105)

FRIDAY – Due: Analysis of Invention #9 (Turek p. 103-4) please turn in at your check time - 30 points - use the Invention Analysis Worksheet
PURPOSE 1) to understand Bach's Inventions share the same premise but that each is a unique artistic expression
2) to know Bach’s Inventions as models of two-part counterpoint and a reflection of his time
3) to learn the principles of good voice-leading that are still valued today
4) to discriminate the implied harmony from diads
5) to trace the development of the motive as various techniques are applied – retrograde, inversion, retrograde inversion, augmentation, diminution, fragmentation, change of mode
SKILLS ASSIGNMENTS RR #1: Rhythm Etude Reader Book III, Unit 1: #1-5 (use rhythm syllables for solo etudes (be sure to conduct), tap and count 2-part, clap and count duets) (other than solo etudes, rhythm syllable counting can be subdivision counting)

SS #1 = #13.1-13.5 and Chpt. 3 (Dr. Orpen picks two every time)

PP (none)

Kraft Ear Training #1 - Chapters One and Two: Section III-A (Dictation Quiz #1 material)
to Top Return to MUS211 Home
WEEK 3

Sept. 19-23

 CHAPTER 2: INVENTIONS cont’d
TESTS MONDAY - Dictation Quiz #1 – KET #1 – 20 points

TUESDAY - Written Examination #1; Invention Analysis – 50 pts

FRIDAY – Skills Checks
PRESENTATIONS MONDAY –Skills assignments; pass back Invention #13 Analysis Worksheets

TUESDAY – Exam

WEDNESDAY – Begin Assign. 2.5 or Wkbk. 2.B - Writing a 2-Voice Invention (the three motives will be divided among the members of the class) use Finale Workbook Software
TEXT ASSIGNMENTS MONDAY - Review Inventions; Do Test Yourself #2

WEDNESDAY – today we begin writing an Invention

(looking ahead - DUE Monday Week 4: Student Invention - Two Sections- 30 pts - 2.B motives using text assignment 2.5 guidelines and Finale software MAKE YOUR MUSIC LOOK LIKE A PUBLISHED PIECE OF MUSIC! This is the initial turn in. There most likely will be revisions - final turn in is Week 5.
PURPOSE 1) to recognize instances of invertible counterpoint – the high art
2) to understand the critical importance of aural cognition development
3) to recognize these contrapuntal practices in music
SKILLS ASSIGNMENTS RR #2: Rhythm Etude Reader Book III, Unit 2: #6-10

SS #2 = #13.6-13.10 and Chpt. 3

PP #1

Kraft Ear Training #2 - Chapters One and Two: Section III-B (Dictation Quiz #2 material)
to Top Return to MUS211 Home
WEEK 4

Sept. 26-30

CHAPTER 3: THE FUGUE
TESTS

MONDAY – Dictation Quiz #2 - KET #2 – 20 points

FRIDAY – Skills checks
PRESENTATIONS MONDAY – Skills assignments

TUESDAY– The Fugue - Fugue handout/scholastic profile, Fugue Analysis Worksheet; fugue as process, subjects and answers, stretto, listen to recordings of fugues; examine Fugue #2 in C Minor - 3.10 in text; do Assign. 3.1 in class

WEDNESDAY - Present analysis of Fugue #1 (Turek p. 118-120) in class; present analysis of Fugue #11 (Turek p. 120-121) in class; half of class do Wkbk. 3.A and half do 3.B for in class discussion
TEXT ASSIGNMENTS

MONDAY - DUE first draft - Student Inventions In Two Sections - 30 points (Assignment 2.B motives using 2.5 guidelines (two sections ending in original key) and Finale.

TUESDAY - have read Chapter 3 - p. 49-64; memorize scholastic profile

WEDNESDAY – Begin analysis of Fugue #1 in Turek - p. 118-120 for class discussion; begin analysis of Fugue #11 (Turek p. 120-121) in class; half of class will do Wkbk. 3.A and half will do 3.B for in class discussion

FRIDAY – Due: Analysis of Fugue #16 (Assign. 3.2 in text and Turek p. 122-124) please turn in at your check time – 30 points, use the Fugue Analysis Worksheet
PURPOSE 1) to know that fugues are more process than standardized form
2) to understand common developmental concepts that fugues exhibit in relation to inventions
3) to know the “high art of the fugue” = stretto, Fugue #1 is an excellent example of
the use of stretto in fugue writing
4) to understand that the focus of a fugue is the presentation and the transformation
of subject material
5) to recognize fugues and fugal procedures in music
SKILLS ASSIGNMENTS

RR #3: Rhythm Etude Reader Book III, Unit 3: #11-16

SS #3 = #13.14-13-18 and Chpt. 4

PP #2

Kraft Ear Training #3 - Chapters One and Two: Section III-C (Dict. Quiz #3 Material )
to Top Return to MUS211 Home
WEEK 5

Oct. 3-7

SKILLS WEEK

Nobel - No Class on Tuesday or Wednesday

Please attend the Nobel Conference and Concert
TESTS

MONDAY – Dictation Quiz #3 - KET #3 – 20 points

FRIDAY – Skills checks
PRESENTATIONS MONDAY – Skills assignments, Fugue Review
TEXT ASSIGNMENTS

MONDAY - DUE finished copy - Student Inventions In Two Sections - 30 points (Assignment 2.B motives using 2.5 guidelines (two sections ending in original key) and Finale.

PURPOSE

1) to gain appreciation for the art of counterpoint by composing a fugue exposition
2) to understand the intricate craftwork that is required to construct a tonal fugue
SKILLS ASSIGNMENTS

RR #4: Rhythm Etude Reader Book III, Unit 4: #17-22

SS #4 = #13.20, 21, 25, 26, 32, 33 and Chpt.4

PP #3

Kraft Ear Training #4 - Chapters One and Two: Section III-D (Dictation Quiz #4 Material)
to Top Return to MUS211 Home
WEEK 6

Oct. 10-14

 

CHAPTER 3: THE FUGUE cont’d
TESTS MONDAY - Dictation Quiz #4 - KET #4 - 20 points

FRIDAY – Skills checks
PRESENTATIONS

MONDAY - Skills assignments

TUESDAY - Written Examination #2 - Fugue Analysis - 50 points

WEDNESDAY - today we begin writing a fugue exposition in 3 voices - Wkbk. 3.C #4 , 15 points - DUE Friday (ASB order, CS, inv. ctp)

TEXT ASSIGNMENTS

MONDAY - Review Fugues; Do Test Yourself #3

TUESDAY - Exam

WEDNESDAY - Prepare to write a fugue

FRIDAY - DUE - Fugue Exposition In Three Voices - 15 points MAKE IT LOOK LIKE A PUBLISHED PIECE OF MUSIC!
PURPOSE 1) to focus on skills development
SKILLS ASSIGNMENTS RR #5: Rhythm Etude Reader Book III, Unit 5: #23-29

SS #5 = #13.36, 41, 42 and 74-75 duets; and Chpt. 4

PP #4

Kraft Ear Training #5 - Chapters One and Two: Section III-E (Dictation Quiz #5 Material)
to Top Return to MUS211 Home
WEEK 7

Oct. 17-21

 CHAPTER 4: BORROWED CHORDS
TESTS MONDAY - Dictation Quiz #5 - KET #5 - 20 points

FRIDAY - Skills Checks
PRESENTATIONS MONDAY – Skills Assignments; and Borrowed Chords and Mode Mixture, all possible triad types for major and minor keys, the “common factor – the b6,” part-writing chromatic chords; Assign. 4.1 part-writing in class; MACRO Analysis on p. 69

TUESDAY - Part-writing borrowed chords in chorale style

WEDNESDAY - Realization
TEXT ASSIGNMENTS MONDAY - have read Chapter 4 - p. 71-76; Assignment 4.1 will be done in class

TUESDAY - Assignment 4.2 will be divided amongst class members with results shared in class

WEDNESDAY - Assignment 4.3 will be divided amongst class members with reults shared in class; DUE FRIDAY - Assignment 4.A #1-5 in Wkbk using Finale - 15 points - (initial voicings will be given in class); Do Test Yourself #4
PURPOSE 1) to know that borrowed chords produce delicate changes in mode that generate interesting and colorful musical effects
2) to understand the concept of parallel key relationships
3) to know the most commonly used borrowed chords
4) to know that doubling the tonic, subdominant, or dominant is a good choice and reinforces tonality
SKILLS ASSIGNMENTS RR #6: Rhythm Etude Reader Book III, Unit 6: #30-34

SS #6 = #14.48, 49, 50, 53 duets

PP #5
to Top Return to MUS211 Home
WEEK 8

Oct. 24-28

 CHAPTER 5: NEAPOLITAN 6TH CHORDS

No Class Monday or Tuesday- Fall Break - Class Friday
TESTS none
PRESENTATIONS WEDNESDAY – presentation on Neapolitan 6th Chords, resolution, part-writing, avoid doubling altered tones; Assign. 5.1 in class - part-writing as pre-dominant harmony, Neapolitan Region in Beethoven Piano Sonata Op. 10, No. 1, third movement – Turek p. 262, check Turek Index II topics

FRIDAY - Assign. 5.4 shared in class; presentation on Chorale Harmonization "Wo Gott Zum Haus Nicht Gibt Sein Gunst" is found in Assign. 4.4; possibilities for harmonizing the chorale melody “Wo Gott zum Haus nicht gibt sein Gunst (need FAM 304) (no D5-P5 w/bass, proper cadences/modulation, proper NHT, check parallels)

TEXT ASSIGNMENTS WEDNESDAY – have read Chapter 5 - p. 85-89; Assignments 5.1 and 5.2 will be divided amongst class members with results shared in class

FRIDAY - Assignment 5.3 and 5.4 will be divided amongst class members with results shared in class; DUE 5.A (even numbers) Wkbk using Finale - 20 points (Do Test Yourself #5. This is on back of turn in assignment)

(Looking ahead: DUE Monday - 5.E Wkbk RNAS and MACRO harmonic analysis p. 27-29 - 20 points - Schubert: Der Muller und Der Bach, and Haydn Lob Der Faulheit)

(Friday cont'd) Chorale Harmonization: examine chorales on p. 93-95 in Turek – complete chords; correct doubling; preponderance of contrary, similar, and oblique motion; sevenths resolving down in dom. 7 and non-dom. 7 (major 7 is variable); no parallel motion to and from PU, P5, P8; step wise motion from 1st inv. chords; limited use of 6/4 chords; cadence types; dom. 7 resolution tune introducing use of incomplete dom. 7 or tonic at cadence; Due Wednesday of Week 10 – harmonization of chorale melody “Wo Gott zum Haus nicht gibt sein Gunst” - 50 points - include (circle and label) a minimum of two borrowed chords, two seventh chords, two passing tones, one neighbor tone, one suspension, and one anticipation PLUS 5 inverted chords - use Finale for playback and print out, include title and composer/arranger, use layers for correct stem direction, use lyric tool for RNAS, any 6/4 chords you use must conform to the usual four types, provide RNAS using Lyrics Tool and label NHTs using Title Tool MAKE YOUR MUSIC LOOK LIKE A PUBLISHED PIECE OF MUSIC!
PURPOSE 1) to know that the term, “Neapolitan,” has a specious geographic and musical association with the 17th century operas in Naples
2) to experience the dark quality of this chromatic chord that has attracted so many composers
3) to understand how this major triad acts as a tritone substitute and pre-dominant chord
4) to write the N6 as commonly found in minor keys and follow its somewhat unique and characteristic voice-leading resolution
5) to hear harmonic progressions in major keys and assimilate the accepted practices of root motion and associated voice-leading
SKILLS ASSIGNMENTS No Skills Assignments or Checks this week
to Top Return to MUS211 Home
WEEK 9

Oct. 31- Nov. 4

CHAPTER 6: AUGMENTED SIXTH CHORDS
TESTS FRIDAY – Skills checks
PRESENTATIONS MONDAY – Skills assignments

TUESDAY – presentation on Augmented 6th chords, resolution, part-writing; Assign. 6.1 and 6.2 in class

WEDNESDAY – Assign. 6.3 shared in class; 6.5 and 6.6 will be examined in class and
Wkbk. 6.F if time (if time, look at Schubert: Impromptu op. 142, No. 2, D. 935 in Turek p. 318)
TEXT ASSIGNMENTS MONDAY –DUE - 5.E Wkbk RNAS and MACRO harmonic analysis - 20 points

TUESDAY –have read Chapter 6 - p. 99-108; do 6.1 and 6.2 in class ;

WEDNESDAY – Assignment 6.3 will be divided amongst class members with results shared in class; Assignments 6.5 and 6.6 will be discussed in class; Do Test Yourself #6

FRIDAY - DUE 6.D #6-10 using Finale and 6.G RNAS and MACRO - 20 points
PURPOSE 1) to understand that the nationalistic designations are specious and attributable to a book by John Calcott who concocted the characterizations for the sounds
2) to memorize the 3 different structures and write their common resolutions
3) to consider the implications of the chromatic spelling of a dominant seventh chord
4) to understand their use as pre-dominant chords and the Classical application in preparing a half cadence
5) to discover that they do not actually have a "root" but are linear chords
6) to discover that the A6 interval can be inverted and appear as a d3
7) to know that +6/? is a symbol used sometimes to symbolize an Augmented 6 th relationship to a chord other than V
SKILLS ASSIGNMENTS RR #7: Rhythm Etude Reader Book III, Unit 7: #35-39

SS #7 = #15.84, 15.88, 15.89 (alto), 15.94 and Chpt.4

PP #6

Kraft Ear Training #6 - Chapters One and Two: Section III-F (Dictation Quiz #6 Material)
to Top Return to MUS211 Home
WEEK 10

Nov. 7-11

 CHORALE HARMONIZATION PERFORMANCES
TESTS MONDAY – Dictation Quiz #6 – KET #6 – 20 points

TUESDAY - Written Examination #3 – Borrowed Chords, Neapolitan and Augmented 6th chords -75 points

FRIDAY – Skills checks
PRESENTATIONS MONDAY – Skills assignments

TUESDAY - Exam
TEXT ASSIGNMENTS WEDNESDAY – In class performances of "Wo Gott" Chorale Style Harmonizations
PURPOSE 1) to listen, enjoy, and learn as classmates present their work
2) to recognize possibilities for chord substitutions in harmony
2) to learn to part-write chromatic chords and resolve chromatic tones correctly
3) to review appropriate use of 6/4 chords, cadences, part-writing, circle progressions
SKILLS ASSIGNMENTS RR #8: Rhythm Etude Reader Book III, Unit 8: #40-44

SS #8 = #15.106, 15.107, 15.111 (duets) and Chpt. 4

PP #7

Kraft Ear Training #7 - Chapters One and Two: Section III-G (Dictation Quiz #7 Material)
to Top Return to MUS211 Home
WEEK 11

Nov. 14-18

 CHAPTER 7: VARIATION TECHNIQUE
TESTS MONDAY - Dictation Quiz #7 - KET #7 - 20 points

FRIDAY – Skills checks
PRESENTATIONS MONDAY– Skills assignments

TUESDAY – Variation Techniques, continuous variation form, Purcell - Dido’s Lament (Turek p. 72), Bach – Passacaglia in C minor, Bach – Crucifixus from B-minor Mass, presented 20th century piece Britten – Serenade Op. 31 (Turek, p. 521-525)

WEDNESDAY – Theme and variation form, Handel – Air and Variations from Suite in E Major, Beethoven –Variations on God Save the King (text examples), Bach – Goldberg Variations (Turek p. 133-140)
TEXT ASSIGNMENTS TUESDAY - have read Chapter 7 - p. 119-125

WEDNESDAY – prepare Assignment 7.3 and 7.A which will be divided up amongst class members for in class discussion purposes; Do Test Yourself 7

(cont'd) – Due Wednesday of Week 13 in class performance: Theme and Three Original Variations – 35 points – see Assignment 7.4; compose a set of three variations on a well-known theme (8 measures) – Finale must be used for printing and playback – you will have a title for each section, be sure to cadence each section, give credit to the composer and arranger - include tempos, dynamics, articulations, etc., and the variation techniques used in each case to be placed next to the number of the variation (you must use two variation techniques for each variation) MAKE YOUR MUSIC LOOK LIKE A PUBLISHED PIECE OF MUSIC!
PURPOSE 1) to examine the practice of making repeated material more interesting by varying some aspect
2) to understand that the techniques of variation are present in many types of music, not all of which are variation forms
3) to compare differences between continuous or ostinato variation form and theme and variation form
4) to write a set of variations on a well-known theme
5) to know that variations were composed as individual pieces and as movements of sonatas, quartets, and symphonies
6) to recognize Variation Form and Technique when used in music
SKILLS ASSIGNMENTS RR #9: Rhythm Etude Reader Book III, Unit 9: #45-49

SS #9 = #17.31, 17.33, 17.40, 17.41, 17.43 and Chpt. 4

PP #8

Kraft Ear Training #8 - Chapters One and Two: Section III-H (Dictation Quiz #8 Material)
to Top Return to MUS211 Home
WEEK 12

Nov. 21-25

CHAPTER 8: SONATA FORM

Thanksgiving Break, No Class Wednesday,Thursday or Friday
TESTS MONDAY - Dictation Quiz #8 - KET #8
PRESENTATIONS MONDAY – Pass out chart of musical forms

TUESDAY – Sonata Form, also called Sonata Allegro Form; carefully examine Fig 8.1 Haydn Sonata in G Major I and Fig. 8.2 Mozart Sonata in C Major I – analysis of Mozart, Eine Kleine Nachtmusik I, (Turek p. 222-226) (do Turek 258, Beethoven Sonata #5 Cm op. 10 #1, 5th Symphony motive idea, AVRD 2401 Vol 1, CD859, Wurst PDQ)


TEXT ASSIGNMENTS TUESDAY – have read Chapter 8 - p. 135-156: begin an analysis of Mozart, Eine Kleine Nachtmusik I, (Turek p. 222-226)

MONDAY WEEK 13 Due - Timeline Diagram of Haydn, String Quartet op. 20, no. 5, I (Turek p. 176-182) – 20 points
PURPOSE 1) to know that this single movement form is found in first, last and even slow middle movements of multi-movement works (symphony, et al)
2) to understand the structural importance of dominant prolongation in the retransition
3) to know that the essence of sonata form is the contrast of two key centers (i.e., tonic and dominant) and their themes
4) to understand that modulation is the major focus of the development section
5) to in related fashion, to know that the movements of a symphony are I. Allegro (fast) –sonata form; II. Adagio (slow) – sonata form, ternary, binary, variation; III. Minuet and trio or Scherzo and trio (moderate) – ternary (Minuet-Trio-Minuet); IV. Allegro or Presto (fast) – sonata form or rondo or even variation
SKILLS ASSIGNMENTS

No skills checks or assignments.

Kraft Ear Training #9 - Chapters One and Two: Section III-HH (Dictation Quiz #9 Material)
to Top Return to MUS211 Home
WEEK 13

Nov. 28-Dec. 2

SONATA FORM (cont'd)

 
TESTS

MONDAY - Dictation Quiz #9 - KET #9 - 20 points

FRIDAY - Skills Checks
PRESENTATIONS MONDAY- Skills assignments: do 8.A analysis in class

TUESDAY – – do analysis of Assignment 8.1 Beethoven Sonata no. 1 in F Minor I; do 8.B analysis in class (8.C if time); Do Test Yourself 8

WEDNESDAY – Play Theme and Three Variations Assignments in Class
TEXT ASSIGNMENTS MONDAY - begin analysis of 8.A for class discussion: DUE Timeline Diagram of Haydn, String Quartet op. 20, no. 5, I (Turek p. 176-182)

TUESDAY – DUE Timeline Diagram of Haydn, Piano Sonata H. XVI: 37 (Turek p. 186-191) 20 pts

WEDNESDAY – Play Theme and Three Variations Assignments in Class
PURPOSE 1) to recognize music that is written in sonata form
2) to listen, enjoy, and learn from classmates' variations pieces
SKILLS ASSIGNMENTS

RR #10: Rhythm Etude Reader Book III, Unit 10: #50-54

SS #10 = #17.52, 17.53, 17.54, 17.55

PP #9
to Top Return to MUS211 Home
WEEK 14

Dec. 5-9

 CHAPTER 9: RONDO FORMS
TESTS FRIDAY –PP Only Skills checks
PRESENTATIONS MONDAY – Skills assignments (selected problems from Ottman will be sung and counted at sight, maybe some Solfege Christmas Carols)

TUESDAY - Rondo Forms; examine Assignment 9.1 in class

WEDNESDAY - Present 9.A and 9. B in class; others from Rondo: Couperin – Passacaille (rondeau in Turek p. 75-80); Haydn – Piano Sonata in D Major (Turek p. 192); Mozart – Die Entführung aus dem Serail Act II, No. 8 (Turek p. 233-236);
TEXT ASSIGNMENTS TUESDAY – have read Chapter 9 - p. 165-172; Assignment 9.1 will be examined in class

WEDNESDAY – begin analysis of 9.A and 9.B

FRIDAY - Due: Timeline Diagram Analysis of Beethoven Piano Sonata op. 13, second movement (Turek p. 262)– 20 points
PURPOSE 1) to study the use of sectional repetition on a large scale in musical form
2) to understand the nature of repetition and contrast in art
3) to know that rondo form is most often found as the last movement of a sonata, quartet, symphony or solo concerto
4) to reinforce the nature of large scale key relationships in tonal music
5) to know the three basic rondo designs
6) to recognize Rondo Form when used in music
SKILLS ASSIGNMENTS No SS and RR assignments; no Ear Training assignment

PP #10
to Top Return to MUS211 Home
WEEK 15

Dec. 12-14

 REVIEW
PRESENTATIONS 1) Review and completion of any remaining assignments
TEXT ASSIGNMENTS 1) To be announced

COMPREHENSIVE FINAL EXAM – 200 PTS

10:30 Class: Monday, Dec. 19, 10:30-12:30 pm, FAM304

1:30 CBA: Tuesday, Dec. 20, 3:30-5:30pm, FAM304
to Top Return to MUS211 Home