1 Page

Rhythm-Tonal Patterns _1_1

Course: MUSIC ED 2665, Fall 2009
School: Temple
Rating:
 
 
 
 
 

Word Count: 216

Document Preview

of Evaluation Rhythm Pattern Interaction Duple Name_______________________ Evaluator____________________ The teacher ____ uses language clearly and concisely ____ refrains from unnecessary talking ____ establishes meter correctly Duple ____ continues to familiar patterns without interrupting the meter ____ maintains consistent tempo throughout pattern instruction ____ chants patterns accurately ____ chants...

Register Now

Unformatted Document Excerpt

Coursehero >> Pennsylvania >> Temple >> MUSIC ED 2665

Course Hero has millions of student submitted documents similar to the one
below including study guides, practice problems, reference materials, practice exams, textbook help and tutor support.

Course Hero has millions of student submitted documents similar to the one below including study guides, practice problems, reference materials, practice exams, textbook help and tutor support.
of Evaluation Rhythm Pattern Interaction Duple Name_______________________ Evaluator____________________ The teacher ____ uses language clearly and concisely ____ refrains from unnecessary talking ____ establishes meter correctly Duple ____ continues to familiar patterns without interrupting the meter ____ maintains consistent tempo throughout pattern instruction ____ chants patterns accurately ____ chants patterns expressively The teachers gesture clearly indicates when ____ to audiate. ____ to take a macrobeat breath. ____ the students will echo. Overall, the teacher delivery of pattern instruction is 5 compelling, consistent, handles errors expertly 4 competent but not compelling, errors handled well 3 inconsistent, interrupts instruction after errors 2 unaware of inconsistency, inability, or errors 1 unable to attempt instruction ____ it is the teachers turn. Rhythm Section____ LSA Unit_____ Evaluation of Rhythm Interaction Pattern Triple Name_______________________ Evaluator____________________ The teacher ____ uses language clearly and concisely ____ refrains from unnecessary talking ____ establishes meter correctly Triple ____ continues to familiar patterns without interrupting the meter ____ maintains consistent tempo throughout pattern instruction ____ chants patterns accurately ____ chants patterns expressively The teachers gesture clearly indicates when ____ to audiate. ____ to take a macrobeat breath. ____ the students will echo. Overall, the teacher delivery of pattern instruction is 5 compelling, consistent, handles errors expertly 4 competent but not compelling, errors handled well 3 inconsistent, interrupts instruction after errors 2 unaware of inconsistency, inability, or errors 1 unable to attempt instruction ____ it is the teachers turn. Rhythm Section____ LSA Unit_____ Criterion_____ Criterion_____
Find millions of documents on Course Hero - Study Guides, Lecture Notes, Reference Materials, Practice Exams and more. Course Hero has millions of course specific materials providing students with the best way to expand their education.

Below is a small sample set of documents:

Temple - MUSIC ED - 2665
PREPARING FOR ROTE SONG PEER TEACHING ASSIGNMENT Here are things you consider as you practice for this assignment (and prepare for extern teaching this semester): What do you need to prepare when planning to model singing for children? What do you need to
Temple - MUSIC ED - 2665
Teachers Name: _ Whole Part Whole Rote Song InstructionEvaluators Initials: _Delivery of InstructionsCircle the number of the step for which you delivered instructions incorrectly. 1 2 3 4 5 6 7Musical ChecklistThe number(s) in the blank(s) below rep
Temple - MUSIC ED - 2665
Notes from folders on September 16, 2009 Infant preference of consonance and dissonance? Infants prefer consonant intervals to dissonant intervals. Researchers think that preference might have to do with an innate preference for intervals with simple rati
Temple - MUSIC ED - 2665
MLDFall2009 TechnologyintheClassroom NameofWebsite#1: Websiteaddress: Descriptionofwebsite#1:Howcouldthiswebsitebeincorporated intoalessonplan?Whatagegroupwouldbenefitmostfrom useofthiswebsite?NameofWebsite#2 Websiteaddress: Descriptionofwebsite#2Howc
Temple - MUSIC STUD - 1711
RULES FOR SPECIES COUNTERPOINT 1:1Considerations for Melodic Writing 1. Melodies must be singable and fall within an acceptable vocal range. 2. Stepwise motion and skips should predominate. A leap or two is acceptable. 3. Treat leaps with care. A leap sh
Temple - MUSIC STUD - 1711
RULES FOR SPECIES COUNTERPOINT 2:1 1. When the voices come together at each beat, the counterpoint follows the rules of First Species (1:1). 2. Second Species introduces embellishments (on off-beats) of the following type: a. Passing tones - move by step
Temple - MUSIC STUD - 1711
Examples for Suspensions (From Boyden, Ex. 22)&c &c w ?c # & ?# w ?# w w w w w w w w w w w w w w w w w ww w
Temple - MUSIC STUD - 1711
Theory I Assignments (all pdf files) HW1 - Clefs HW2 - Major Keys HW3 - Minor Keys HW4 - Minor Key Signatures HW5 - Minor Key Signatures HW6 - Intervals HW7 - Triads HW8 - 7th Chords HW9 - 7th Chords HW10 - 2-part Counterpoint HW11 - 2-1 Counterpoint HW
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
COUNTERPOINT CHECK SHEET AND CORRECTION CHARTMelody 1. Your melody is weak for the following reasons: A. Too many skips resulting in an awkward line; move primarily by step. B. Too much stepwise action; use a few more skips. C. Dull line, monotonous, cir
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #1Name _1. Write the letter name and register for each of the pitches below. Watch for clef changes.&wA4BbwAb3&#wBbw&#w?wBbw&bwB#wBbw&wB#w?wBbw #w&wBbwBw?#w&wBbwB2. Write whole notes as in
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #2, Page 1Name _1. Write ascending major scales, starting on the given note. Use accidentals (not key signatures). Watch clefs!&w ?w Bw B wbw bw w #w2. Identify each of the Major Key-Signatures below.&#bbb # ##bbbbb # # ##
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #3, Page 1Name _1. Using the given note as the tonic, write ascending Natural (N), Harmonic (H), or Melodic (M) Minor scales. Use accidentals, NOT key signatures. Watch clefs!&wMbw bwN&wHN?wH#wM?wH#wNBwMwHBwHw
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #4Name _1. Given a Major Key-Signature, identify each note as a scale-step, and as a scale-degree name.&bScale Step: Name:w#wbbbw#wbbbbw? #Scale Step: Name:wbbbbw#wbbbbbw#w2. Given a Minor Key-Signature, iden
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #5Name _1. Identify the Intervals Below&w ? bw#w w w#w w w bww bw ww w bwbw #w w #ww w ww bw wbw w wbw bw ww#www w bwB #wbw bwbw #w2. Write the specied melodic intervals ABOVE (and to the right of) the given pitche
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #6Name _1. At each blank between the staves, identify the harmonic interval between the inner voice (in the left hand) and the upper voice. Place a box around any dissonant interval.Bach: Gavotte II from G-minor English Suite# &
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #7Name _1. Build Triads as indicated. Use the given note as a root. WATCH CLEFS!&Majorbw w w ww w w w wbw bw #w w#w #w #w bw#w #w w bwbw ww bw ww #w w wMinor? B BDiminishedAugmentedbw#w2. Identify each triad below
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #8Name _1. Build 7th Chords as indicated. Use the given note as a root. WATCH CLEFS! M=Major/Major, m=minor/minor, V7=Dominant 7th, Dim.=Diminished, Half-Dim=Half-Diminished& ? B BbwMwmbwV7#wHalf-Dim#wDimbwMw bwwV7
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #9Name _1. Given a key (Upper Case=Major, Lower Case=Minor) and a Roman Numeral, write the key signature and the indicated triad or 7th chord.& &6 E: ii 5f#: vii o 6D: V 4 3f: IIIEb: IV 74 g: V 2Bb: vi 66 b: VI 5Ab: ii 6
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #10Name _1. Resolution of dissonances. Resolve each dissonance below. IDENTIFY THE HARMONIC INTERVALS BETWEEN THE VOICES. Recall that diminished 5ths resolve "in" by step.Augemented 4ths resolve "out" by step. 7ths resolve with the
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #11Name _1. In the second species (2:1) example below, label all intervals between the voices. Circle all embellishments and label them above the staff with P=passing, N=neighbor, and CS=Chordal Skip.b &bb c ? bb c b n2.
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #12 (Page 1)Name _1. Complete each of the suspensions begun below, resolving the suspension properly. Label the Preparation (P), Suspension (S), and Resolution (R) of each Suspension. Finally, identify the intervals of the Suspensi
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #13 (Page 1)Name _1. Given the Key, Roman Numeral, and Soprano, write the indicated chord in 4-part chorale style. Use accidentals instead of key signatures. Watch doubling and spacing.& c b ?c f: iib#E: IV 6a: V 6d: VIf: i
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #14 (Page 1)Name _1. Harmonize each of the Soprano lines below with root-position I-V-I progressions, SATB. Use the Common-Tone/Stepwise method of connecting chords. All the Soprano lines are in a Major Key.&# ? # c c bbbbb b
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #15 (Page 1)Name _1. Harmonize the following Soprano patterns using root-position I-V-I progressions. Remember that when the Soprano uses Do-Re or Re-Do, it is not possible to use the Common-Tone method of connecting chords.# c &
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #16 (Page 1)Name _1. Harmonize the following Soprano patterns using root-position I-V7-I progressions.b &b c ?bc b & ? # & ?# ## # # b b 2. Harmonize the following Soprano patterns using I-V6/5-I progressions.# # 3. Harmoniz
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #17 (Page 1)Name _1. Complete the progressions below using half notes. Remember that when the bass moves by step, the upper upper voices will move in contrary motion to the bass. Also be sure to prepare and resolve 7ths.b &b c ? b
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #18 (Page 1)Name _1. Complete the progressions below, which include cadential 6/4 chords. Remember to double the bass of the 6/4 chord, and resolve its upper voices down by step.&#? # c # & ? # I Ic IVb 6 V45 3Ib bb bb
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #19 (Page 1)Name _1. Complete the progressions below. Remember to double the 3rd of the leading-tone chords and to resolve the leading tone. When leading-tone chords have a 7th, use all 4 notes (no doubling).b &b c ?bc bIb b#v
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #20Name _1. For the following excerpts, provide a Roman Numeral analysis. In addition, label each six-four chord as P=Passing, N=Neighbor, or A=Arpeggiated. Finally, label cadences (PAC, HC, IAC).Haydn: Quartet op. 3/5c . &con s
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #21Name _1. Harmonize the following melodies in SATB style. Include a Roman Numeral analysis of your harmonization. Be sure to include: a cadence, a melodic bass (not just root-position chords), and an opening tonic.#3 &4 ?# 3 4G
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #22Name _1. Harmonize the following melodies in SATB style. Include a Roman Numeral analysis of your harmonization. Be sure to include: cadences (at fermatas), and a melodic bass (not just root-position chords). Both melodies invol
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #23 Realize the following gured bass excerpts as follows: 1. Using the bass and gures, provide a Roman Numeral analysis of the excerpts. 2. Fill in the inner voices in the upper staff, following the rules of voice leading. 3. With a
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #24NAME: _Realize the gured bass below: 1. Add Roman Numerals according to the gures. 2. Write a right-hand part that follows the chords indicated by the gures. Your realization can be simple chords (Keyboard Style), or you can com
Temple - MUSIC STUD - 1711
Assignment #25NAME: _Analysis -Provide a Roman Numeral analysis of the following excerpts. Include proper gures for any suspensions. Also label any Pedals.Mozart: Sonata, K. 283#3 & 8 p 1 ?# 3 8 # J J J J r J J J J Jr j j JJ
Temple - MUSIC STUD - 1711
Theory 1 - Assignment #25 (Page 2) Analysis (continued)Name _b &b C b &b C B bb C ? bC b b &b bb & Schubert: "Death and the Maiden" Quartet # # . . . .B bb ? bb
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Theory I (Music Studies 1711) Practice Dictation Materials Interval Practice. In this program you can specify the intervals you want to work on, the timbres, speed, and whether the intervals use the same or different timbres for each note. There are also
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Composer: Franz Schubert (1797-1828) Translation of "Der Lindenbaum" (The Lime-Tree) from Die Wintereise cycle (D.911) Piano Introduction Am Brunnen vor dem Tore Da steht ein Lindenbaum: Ich traumt' in seinem Schatten So manchen sussen Traum. Ich schnitt
Temple - MUSIC STUD - 1711
RULES FOR SPECIES COUNTERPOINT Suspensions (Fourth Species)Suspensions The suspension consists of three parts: a preparation (which is always consonant), a suspension (a tied or repeated note), and a resolution. Suspensions usually resolve down by step.
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
TONAL HARMONYCheck Sheet and Correction Chart The Complete Musician (2nd Edition)- Steven G. Laitz If you are unable to find help from the pages suggested on this sheet, check under specific headings in the text index. The most common mistakes appear in
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Temple - MUSIC STUD - 1711
Error: 404 NOT FOUND
Temple - MUSIC STUD - 1712
Name_Lab #1(to be turned in to your lab instructor)I.Singing1) Analyze the following canon a) Provide a Roman numeral for each bracketed arpeggiation (I, ii, etc.) b) Determine the phrase structure: does it most resemble a parallel period, a contrast
Temple - MUSIC STUD - 1712
Name: _Dictation #2