Creative Arts Department - Levelland

Topical Syllabus

Course Title:

MUSC 2311, Commercial Music Sight Singing & Ear Training II

Instructor:

Ed Marsh

Office:

CB 110 Office Hours: As posted Office Telephone: (806) 894-9611, ext. 2274 - voice-mail configured. E-mail: mailto:emarsh@spc.cc.tx.us

Office Hours:

As posted

South Plains College Improves Each Student's Life

The final examination in this course is cumulative. This text is a unit-by-unit study guide, and uses actual test questions from previous final exams. The sections in this document correspond to the testing units in the course. The student is encouraged to follow this study guide during each class (with assurance that it constitutes the bulk if not totality of the course content).

UNIT ONE: FORM

I. Chart The Form

 On the back, chart the form of the song-example played in class. List the sections (intro, verse, etc.) in a column at left. Count the number of measures in each and write the number beside the listed section. After you are sure of the form and measure count, use manuscript paper to make a blank-measure-chart of the song. Use any repeat signs or symbols that aid in making an easily readable chart. (Make sure to give the time signature of the song and tell whether it is in swing or straight-time.)

II. Definitions

Define the following terms, describing when, where and why they are used. Show the symbol(s) [if any] used with them.

  1. D.C.
  2. D.S.
  3. Coda
  4. fine
  5. Al fine
  6. Al coda
  7. 1st, 2nd, 3rd, etc. endings
  8. Double-bar & dots repeat

III. Melodic Numbering

  1. In the first example below, number the melody within the key below the staff; number the melody within each chord above the staff.

B.     In the second example, write tenor and baritone harmony parts. Number the baritone part within the key below the staff, and the tenor above the staff. Be prepared to sing all parts.

IV. Sight Singing

Sing one (or several) of the selected melodies (at the discretion of the instructor).

V. Rhythmic Ear Training

Identify (and notate) the rhythmic examples played in class.

VI. Melodic Dictation-

 

Below, write down the number sequence of the intervals, tetrachords, scales, etc. played in class.

 

 

UNIT TWO: VOCAL HARMONY STYLES

I. Pitch Ear Training

Identify (and notate) the melodic intervals played in class.

II. Sight Singing

Sing one (or several) of the selected modal melodies (at the discretion of the instructor).

III. Pentatonic Scale Based Passing Chords

In the following example: circle all non-harmonic tones and number them (below) according to the chord they are within; harmonize these non-harmonic tones using thirds except when a part crosses the "break' between the root and fifth of the chord, in such cases use the appropriate pentatonic scale tone (major or minor); above each "substitute" chord, label the chord you have used with standard chord symbols.

IV.. Suspensions, 6th & 7th Chords

In the following example: circle all non-harmonic tones and number them (below the staff) according to the chord they are within; harmonize 2's and 4's as suspended chords and 6's and 7's with their proper substitute triads; above each substitute chord, label the chord you have used with standard chord symbols.

V. Three-Part Harmony         

  1. In the example below, harmonize the melody with tenor and baritone parts. Identify the key and label it beneath the key signature. Circle the non-harmonic tones and label them by chord number (above the staff). Harmonize the chord-tones according to the symbols above the melody and the non-harmonic tones in whatever method you choose except where a suspension occurs in the melody, in which case you should label it and harmonize it as such.
  2. On the staff below, copy the Lead line and number the melody by key numbers (above the staff). 
  3. On the staff below, copy your Baritone line and number it by key numbers (above the staff).
  4. On the staff below, copy your Tenor line and number it by key numbers (above the staff).

VI. Sight Singing Harmony Parts

Prepare to the three parts in the examples above.

UNIT THREE: MELODIC STUDIES

I. Definitions

            A. What do we call the bit of melody used to create a sequence?

            B. What is Sequencing?

            C. What is Inversion?

            D. What is a tonal sequence/inversion?

            E. What is a real sequence/inversion?

            F. What does retrograde mean?

II.  Writing Sequences, Inversions and Retrogrades

                        In the staves below, write an example of the requested operation.

            A. Tonal sequence ascending by thirds

            B. Real sequence descending by major seconds

            C. Retrograde

            D. Real inversion

            E. Tonal inversion

III. Singing sequences, inversions and retrogrades

            Write and then prepare to sing the required melodic phrases.

IV. Counterpoint

Write and then prepare to sing the required rhythmic/melodic phrases.

            A. Using the given melodies, write a counter-rhythm for each.

            B. Use the counter-rhythm to harmonize the melodies.

C. Design a counter-rhythm to use with "punch" chords.

V. Pitch Ear Training

Identify (and notate) the intervals, tetrachords, scales, etc. played in class.

played in class.

VI. Rhythmic Ear Training

Identify (and notate) the rhythmic examples played in class.

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