Homework

This week we continued with the blues. The Blues Section in the VMS is relevant, as well as the horn solos in Thematic solos > Samba Bicicleta.

Homework for next tuesday

Those who need good ear training material can transcribe Just the way you are (melody and harmony, real book style, you best start where the band comes in).
For analysis it's a good idea to re-read the essay about meaningful harmonies on page 16/17 as well as the summarizing pages 167 and 168.
If you want one more song to analyse I suggest In your own sweet way on page 103 in your book.


Homework for next thursday

Work on your three writing assignments.
Finish the 20 voice leading exercises
Work on the ear training package for the 2nd semester, as always.
Make sure that I saw your transcription of Till there was you.

This week we covered the Salsa section in the VMS. The movie with the song Sin Explicación contains lots of interesting harmonic, melodic and rhythmic spots, worth studying in detail. Improvising mambos and copying them 4 times exactly is a challenge for improvisers. Playing in clave is a great way to train your phrasing awareness.

With La Barca we practised combining our ears and knowledge by finding the chord types on top of a given bass note.

Homework for next tuesday
Finish Till there was you if you haven't done it. If the song gave you some troubles and you feel you can use some more training: make a transcription of De Vlieger - chords and - optionally - the melody. This is an important song in the Dutch cultural heritage, even though it might be not of your musical taste ;-).

Homework for next thursday

Work on the three creative assignments, and finish the voice leadings. It's a good idea to make me approve the steps in between: the melody before you add the harmony; the chords before you add the melody. You may always email your work in between, also in the holiday. If necessary we make an extra zoom-appointment.

Maintain your ear training program, like scales level 2, seventh chords plus 1, Basic Progressions, dictations, pitch orientation, rhythm notation, etc. Give priority to your weakest spots.

This week we discussed the intelligent harmony of Hopelessly devoted to you. I also introduced the harmony song assignment. The template I gave for the transcription of Till there was you is in fact a model for a classic RealBook song, so you can use it for the harmony song.

Homework for next tuesday

Analyse the scale degrees of Sin Explicacion on page 130 if you haven't done so. I'll use it in the next tuesday class.

Homework for next thursday

Transcribe Till there was you, melody and chords, real book style. Audio and template were sent by e-mail.

Work on the harmony song: write a 32 bar AABA chord progression that contains at least a secondary dominant, some Modal Interchange and a diminished chord. Put the bridge in a contrasting key, and bring it back to the final dominant of the A-part, as we practised in class. After I approved your changes you can add a melody to it.

This week I've treated line clichees, a subject that is by the way no part of the VMS yet. Functionally there is nothing new here, line clichés simply take us back to the horizontal aspects of voices acting together. Usually one of the voices is moving up or down, while on or more others stay more horizontal, so oblique motion is common. There is a video in the Classic Chord Progressions page that shows pretty much all common constructions.

Homework

Analyse the scale degrees of Sin Explicacion on page 130. This anticipates a lesson about salsa.
Transcribe Hopelessly devoted to you - melody and chords. Is has a line cliché. It is a smart song, and it is precisely the level you should have reached by now. I

In the next practicum class we'll do a live transcription. I'll inform you later about how I want to do it. Please do come to that class - for obvious reasons.

Work on your propedeuse assignments: when the melody is kind of OK try to find the chords. You could work on your solo too.

This week we practised with Basic Progressions in cat 700.
I hope I gave some inspiration for the first final assignment: lyrics, images, ringtones, birds, you encounter them every day when you're open to it.

Week 12 is re-exam week, see upper right section for details.
Nevertheless feel free to come to the practicum room on thursday if you want to work there.

Homework for next tuesday

Let's start with the first propaedeuse assignment:
Write a good and singable melody, suggested form is 32 bars with an AABA structure. The bridge should be a contrast and evoke the longing for the A-part. A pop song format with a verse and a chorus is fine too.
Don't think/play chords (yet). I can't stress this enough: keep it simple, make sure that it is singable and make it beautiful instead of corny.
The melody must be strong by itself, and it should not need fancy chords or grooves to be appreciated. Thinking lyrics is a good idea, but stay away from chords.
Test it on a 'normal' person with no specific musical education.

Homework for next thursday

Keep working on ear training subjects that need your attention: seventh chords, ear trainer all categories (BP and Dictations), scales level 2. Half an hour per day recommended.

Finishing the practical assignments mentioned in the previous week is a good idea.

This week we refreshed diminished chords by studying the VMS-song Diminished Diversity, which shows appropriate use of scales plus lots of improv concepts. I recommend studying that movie in detail, because there is a LOT of information.
We also studied three essential improv techniques hooked up in this Section.

We studied Ave Maria as a song from the classical literature, containing lots of diminished chords, pedal tones, and inversions (especially when the melody is on the root of the chord). Pedal tones can 'justify' harmonic clashes!

I made our mission of this year clear by going over the many techniques you can apply for cracking the code of a song by discussing page 157, General Exercises.

Homework for next tuesday

• Practise hearing diminished chords. Use the ear trainer with Basic Progression and Dictations, with emphasis on cat. 700, as well as the dim-collage in the Classic Chord Progressions.
• Be open to inspiration for a beautiful singable melody, coming from a serious, authentic impuls. Nail it right away if it pops up (happens mostly on an unexpected moment). This is to get you in the right mindset for the first final assignment of the 2nd semester.

Homework for next thursday
Several exercise are now in process, try to finish them in short term:

• The scale skiing exercise on Diminished Diversity in the computer room, it is similar to the second chorus of technique #3 mentioned in the affiliated section. Only seconds and an occasional third (for better landing) are allowed. Apart from the auxiliary chords NO octatonic scales please. Find excitement in the graphic flow instead of overuse of alterations and chromatics. You may need to refresh your theory for finding the proper scales.
• The graphic solo modeled into Weaver of dreams is worth finishing.
• You should have done about 10 of the 20 voice leading exercises by now.

This week I introduced 16th figures. The second half of the Notation movie (VMS > Basics > Vocabulary > Explanation) covers the explanation. You can use cat. 6 of the SWYS trainer in the Fundamentals as an addition to the rhythm lab classes.

I introduced the principle of 'watering the plants' and concrete vs abstract phrasing.
As an example we studied Booker Little's great melody on Rounder's mood, as well as the beautiful Cuban song Amsterdam from Estudiantina Invasora.
We repaired the Bad Phrasings in Basics > Phrasing > Exercises.

Homework for next tuesday
Work with the Seventh chords trainer and the Scales trainer. Find them in VMS > Services > Ear training Centre > affiliated tab.
Analyse Easy living on p.90. This anticipates the next class on diminished chords.

Homework for next thursday
Model your graphically designed solo into the harmony of Weaver of Dreams, you can use the Logic file in your personal folder in H205 for this. We prepared this already in class, would be good to finish the whole chorus.

Finish the voice leading exercise till #10 if you haven't already.

This week I introduced the subject of shapes and solo building. Relevant movies are found in Basics > Phrasing > Explanation > Items 5 till 8. The page with Melodic Shapes (p. 32 in your book) on the exercise page is a great and practical improv tool for all players and singers. I suggest you start applying this on your instrument from today!

Homework for next tuesday
Transcribe How deep is your love (melody and chords), a beautiful song with a clearly audible bass line, some intelligent harmonies and various rhythms. You can skip the intro and focus on the main material of the song itself. Beware of sus4 chords!

Explore the trainers for the Seventh chords and Scales a bit further.

Homework for next thursday

Apply the technique demonstrated in the last movie (item 8 Storytelling). Below are some suggestions for this roadmap, which has to be constructed without thinking of any key or chords. Make a completely graphically designed solo. In order to prevent too much complexity you must be able to sing your roadmap for your fellow students and convince us with the clarity of your ideas. Please think medium swing. With complicated 16ths you may get into trouble when we frame these ideas into a jazz chorus.

1. Make a short shape, repeat it, and the third time: extend it. This can be based on your name, as we practised in class.
2. Create three different elements. The connection between these is that the last note of the previous shape forms an interval of a second with the next shape.
3. Write 4 bars of double line technique (verkapte tweestemmigheid).
4. Write two phrases that are based on the same concept of articulation.
5. Write three elements in which an overall ascending line of seconds can be observed (as found in thousands of standards)
6. If you have less than 32 bars, fill it up with connected elements of your own.

The first 10 voice leading exercises are probably already finished. Catch up if you are a bit behind.

This week we continued with the subject of alterations/TriSubs.
We discussed the song Subway and the great panflute solo on it.

I also introduced a new movie on tunings in the Sound directory, showing that in equal temperament we play out of tune all the time!

In the thursday class we started with the first steps on voice leading.
Print this pdf if you did not get the papers (p1 is Dutch, p2 is English).

Homework for next tuesday

Complete your chart of Serenade for Sarah with chord symbols, and check your work, then compare and analyse the scale degrees on this pdf.

Practise with cat. 800 in the BP&D trainer and do all 8 dictations.
Start working with the Seventh chord trainer.
Both trainers are in VMS > Services > Ear training center > Ear trainer > relevant tabs.

Homework for next thursday

We already worked on the file called Voice leading exercises, which is stored in your personal folder in H205. Try to finish the first 5 exercises. Feel free to do them first on paper, if you feel you can learn from it.

This week I treated the subject of alterations. Relevant items to study:
The essay called alterations in your workbook on page 161-162.
The TriSubs explanation on p96 provides a summary of the analysis.
VMS > Sections > Tritone Substitutions > Explanation > first four items
Fundamentals > PWYH trainer > P6 tracks 049-060 (locate in Start With mode)
The collage movie on TriSubs on the Classic Chord Progressions page.

In practicum class we de-altered a solo on Autumn Comes to compare inside vs outside.

Homework for next tuesday

Fill in the scale degree puzzles on page 99 on TriSubs;
Analyze Body and Soul on p101.
Analyze the One note samba on p104.

Homework for next thursday

Transcribe melody and chords (using the bass) of Serenade for Sarah, knowing that it consists of many I-V-I constructions as well as lots of II-Vs, in which pretty much all V7s are altered, and the alterations occur in the melody. You can do it if you let your ears and your knowledge cooperate!

Finish the de-alteration excercise (Autumn altered) which is your personal folder.

Add cat. 800 of the Ear Trainer (TriSubs) to your routine and practise a bit with BPs.

I recommend practicing the altered lines of the PWYH trainer on your instrument if you want to learn the their sound. Playing the altered solo (or writing one!) is also a good idea. Scores are available for all instruments!

Please find you exam work in your mailbox in the main building and bring it class.We'll discuss it in class.

Homework for next tuesday

Make a double staff system and transcribe the melody and the bass of Serenade for Sarah, a great Michel LeGrand (RIP) song. I use it to introduce alterations. 16 bars should be doable. It's good for writing syncopations and tuning in on the bass layer. You may use the piano for pitch.

Homework for next thursday

Whatever you need to grow...

Last week was all about summaries and exam training. For heaven's sake was a good song for practicing scale degrees, scales and melodic analyses.

If you are preparing for the exams: Remember that each section has an overview page with appropriate scales: p48, 62, 63, 81, (96 on TriSubs).
Summaries on all harmonic building blocks are on pages 167 and 168 (to be treated in the final Tuesday class)

We did not discuss every standard in the workbook, but if you need more practice you'll easily find answers to remaining songs in the VMS on the Analyze/Harmonize pages.

The various ear training resources are all meant to get insight in the way melody, harmony and rhythm interact. The many questions I asked in terms of bass motion, melodic lines and patterns, changes in function, harmonic colours etc. hopefully improved your functional hearing. On a row:

• The Sing What You See Trainer in Fundamentals is great for pitch orientation;
• In the Ear trainer page in the VMS the BP&D trainer is dedicated to bare naked Basic Progressions, and 'archetypical' Dictations;
• Children's songs are available for similar and transparent stuff in a more musical context;
• The Classic Chord Progressions page shows dozens of cool examples from the real world. Playing them on the piano from them movie and transcribing them from the mp3 is in my opinion the best way to learn how music works!

Homework for tuesday jan 5:

• Analyse the melody of If you knew on page 98, which was once written to combine II-Vs in as many ways as possible.
• Analyse the harmony of If you knew on page 105. It does contain a few tritone substitutions, which are basically V7s resolving half a step down, indicated with a dotted arrow.
• If you need more training with writing syncopations I suggest you already transcribe the melody of Serenade for Sarah, a great Michel LeGrand song. Using the piano for pitch is 'allowed'. This song anticipates a next subject on alterations and TriSubs. It's going to be homework for februari anyway.

No class on jan. 6 and 7, due to the HKU-onderwijsdag on jan. 7.

So week 3 is exam week, see the upper box for details.

This week we continued with diminished chords. These are tough, because:

• They involve more non-diatonic notes than normal secondary dominants;
• Non-chord tones always conflict with neighbouring chord tones, so delicate phrasing is required.
• Defining the tone supply from the root of the diminished chord is impractical, due to the 4 possible inversions. Treating it like a V7b9 works by far the best, if its function is secondary dominant;

Paul Simon's I do it for your love showed us that meaningful harmonies not always fit the scale degree system perfectly. It also contained some beautiful effective diminished chords, worth analysing. Click for video and score.

Homework for next tuesday:

• Fill in the scale degree puzzles with diminished chords on p. 86.
• Fill in page 54: Scale degree analysis of The Shadow of your smile (follow instructions at the bottom of the page). Listen to Barbra Streisand to have an idea what the music is about.

Homework for next thursday:

• Exam training: Analyse scale degrees of For heavens sake on p. 71. Also print and analyse its melody. Listen to the theme, or play it on the piano. Remember this additional page with keywords for melodic analyses. In the practicum room we'll work on the scales, similar to the exam situation.
• Draw your conclusions from the ear training pre-exam and work on the rusty elements.
• Next week we'll discuss the transcription of Takkenheks (see previous week). If you haven't done it yet and feel you could use the training, this is a good song.

Last week we finished the Modal Interchange subject. We sang the lines on p79 on the harmonies on p78 for getting familiar with the harmonic flow. I recommend doing that on your instrument as well, in multiple keys.
We studied the collage of Neapolitan and bII chords on de CCP page.
We studied many ST-contributions and learned from them.

Furthermore we studied the basic principle of diminished chords. The first movie on the affiliated explanation page in the VMS pretty much covers the essence. Scales are in most cases formed by the notes of the diminished chord plus the triad of the resolution chord. Auxiliary chords can use an octatonic scale (whole-half).

Homework for next tuesday:

• Train your ability to name the notes of the 12 diminished chords. In fact there are only three versions. Visualizing the notes on the keyboard might help.
• Analyse All the things you are on page 69. Contains many modulations. Also name and play the scales of each bar on the piano, which is similar to the exam situation in januari.
• Analyse Bear Necessities on p72. Tough one!

Homework for next thursday

• If you need it: transcribe melody and chords of Takkenheks, a song about a witch. This song is transparent, has a clear bass and contains exactly the clichees that you need to master. Tonic is F. Great exam training! Later on we'll switch to jazzier material, but many of you can use some additional practice with this type of material. You need 16ths if you make it till the refrain.
• I suggest working on the ST-solo if it needs further development or transcription.

Next practicum class we will do a little pre-exam: a couple of intervals, triads, scales, Basic Progressions and a dictation, so that you can see how the flag is hanging.

Some students want/need more children's songs, since they are so transparent in their melody and harmony. In Bart's Best of collection you'll find many songs that can all be transcribed without the piano. Feel free to practice with them till the exam, I guarantee that it will help.

This week we got a little deeper into Modal interchange. Louis Prima's Buona sera is a swinging example with typical Moll-Dur clichees.
We also studied the Neapolitan chord and its counterpart bII, with the Godfather as a classic example.

Homework for next tuesday:

• Fill in the scale degrees puzzle on p.66.
• Fill in page 13, only for those who need some practical experience and tips with proper notations. Details and tips are in the Notation movie in the Theory menu of the Fun-damentals (till the 16th notation part). This might come handy for the thursday assignment.

Homework for next thursday

• Record and transcribe an interesting and beautiful solo on Secondary Thoughts. See the first triangle below the upper box for details. Send audio and chart to lichtemuziek.uc@hku.nl, or (even more convenient for me) copy it to your personal folder in Documents H205 in the computerroom. As a backing track you could use the walking bass assignment on this song swing), or download the relevant track from the VMS-Playalongs (bossa).

This week we started with Modal Interchange (MI): the 2 movies on sound and scales in the affiliated Section are easily found in the VMS.
We discussed scales and melody of Ceora. Find my melodic analysis here.
In practicum class we discussed Chet's solo and his phrasing principles, we experimented intensely with melodic shapes, and we started with MI in the Ear Trainer.

Homework for next tuesday:

• Study the summaries on MI on pages 61 and 62 (progressions and scales). (Re)Watch the 2 affiliated movies in the explanation paragraph of the MI-section.
• Analyse Here's that rainy day on p70. Ignore the fourth chord, as well as bar 20.

Homework for next thursday

• Practise with cat. 500 in the ear trainer (VMS > Services > ETC). Start with the progressions, then do the dictations.
• Study the Modal Interchange collage movie in Classic Chord Progressions at least once, to get used to its characteristics in famous pop songs.

If you want you can already start with your creation of a solo on Secondary Thoughts (recording and transcription). In two weeks it's supposed to be finished. Find simple phrasing, with nice and clear construction elements. I really don't care if you improvise, compose and/or repair. See the exam description for details.

This week I introduced you to the Instruments directory. We partly did these transposition exercises for saxophones (Q and A are both in the pdf). A similar exercise will be part of the theory exam.

Another subject was melodic analyses, in which we discussed this additional page.
We analysed the melody of Secondary Thoughts to get familiar with techniques.

In the practicum room checked the walking bass lines of ST, we worked with its guidetone lines, and we improvised to prepare for the solo assignment coming up.

Homework for tuesday:
Finish the transposition exercise you received on paper.
Finish p. 55: Scale degrees and scales of Ceora. Please do this exercise not only 'mathematically' but also try the different possible tone supplies on the piano.
Also analyse the melody of Ceora, if you didn't receive it in class print the theme here.

Homework for thursday
Transcribe Chet Bakers's solo on In your own sweet way (melody only) which starts on 1'43". You may use an instrument for the pitch. The key is Bb-major. Spend no more than 2 hours on it. Simplify ornamentations with turn signs (dubbelslag in Dutch), that makes things easier.

Practise the guidetone lines on Secondary Thoughts. You'll find the play-alongs in the affiliated section in the VMS, as well as in the downloadable VMS-Playalongs.

Last week our focus was on melodic analyses and phrasing. We
We studied the essay Sounding Interesting on p165/166, and solo on Secondary Thoughts in detail. In the practicum room we compared our Ooievaar/Guinea pig melodies, and we learned about walking bass (p158).

Homework for tuesday:

Let's take some time for reconsideration: think which subjects need your attention most. For ear training select those subjects from the upper box and practice them short and often rather than once and long.

If you need it: The pages below (easily found in Basic Forces and Vocabulary, with answers in the VMS) could help refreshing basic knowledge of chords, scales and keys. I won't treat them in class, but I'm happy to answer any questions.

• Fill in page 11 - big chords (check the movie about the system of chord symbols in the vocabulary section if you need help with the 9th, 11ths and 13ths).
• Fill in page 27 - more scales
• Fill in page 18 - key signatures
  

Homework for thursday

Finish the walking bass line on Secondary Thoughts in the computer room (32 bars). Make sure the bass hits the root on the beat where the new chord enters. Study the essay on p158 for explanation.

Improvise a bit on Secondary Thoughts. You'll find the score and mp3 for your instrument in VMS > Sections > Secondary Dominants > Song page and Play along page. For downloading you can go to the VMS-Playalongs. Apply the techniques you learned (guidetone lines, arpeggios, melodic variations, shapes, etc).

Practise with the movie and mp3 about Secondary Dominants in the Classic Chord Progressions folder. Practice suggestions are on the opening page. This way the sound of sec. dominants will settle in your ear.

This week we continued with secondary dominants by studying Secondary Thoughts. From the Phrasing chapter of the VMS we discussed the movies on harmonic and rhythmic magnetism.
The cool movie with advanced voice leading examples is here.
We also enjoyed each others contribution to the writing improv assignment on II-V-Is in all keys.

Homework for next tuesday

• Find the scales (names and notes please) of Secondary Thoughts (p51) by using your knowledge and by sitting at the piano and playing the tone supply you think suits best.
• Fill in page 53: On the sunny side of the street (note the precise instructions).
• Catch up on the subject if you need it (see previous week).

Homework for next thursday

• Finish the Ooievaar/Guinnea pig song stored in your own personal folder in the Bart Noorman directory in the computer room. Create a catchy singable melody for kids, using the given harmony and rhythm. Make sure that the publisher is willing to pay you! Take the meaning of the lyrics into account, the melody has to illustrate the words, and it should feel natural. No need to say that you are supposed to be able to sing your own creation.
• Practise with cat. 300 and 400 in the Ear trainer, progressions and dictations.

This week I introduced secondary dominants. We sang many practical voice leading situations, we studied the first two movies in the explanation section of Secondary Dominants in the VMS, and we watched the affiliated movie from the Classic Chord Progressions page.

In practicum class we discussed melodies on II-V-I on their compositional elements. Many examples are in Fundamentals > M&R > PWYH trainer > P6. The essay Sounding interesting on 165-166 is worth reading too.

Homework for next tuesday

• Go to VMS > Sections > Secondary Dominants > Explanation and study the first 3 items thoroughly. The first item is on p. 43-45 in your workbook. The scales movie might be a bit tough, this stuff takes time to digest;
• Fill in page 49: puzzles with scale degrees level 1.
• Watch the collage with secondary dominants from the Classic Chord Progressions page completely.

Homework for next thursday

• In the new version of the VMS you cannot downoad mp3, but I parked all Play-alongs here. Go to the TwoFiveOneFacilities folder and select a track of your choice. You can download it with Save file as in Firefox. Chords are on page 146. Record a solo on at least half of this track and fill it with composed lines, a few arpeggios, improvised lines, a couple of guidetone line embellishments, and adventurous transitions to the new key. Transcribe your 5 best lines. Save a picture and an audio recording and store your files in your personal folder on the H205-documents server. If that is too complicated e-mail the files to lichtemuziek.uc@hku.nl so that I can show/play things in class.
• Practise a bit with the Basic Progressions in cat. 300 and 400 of the ear trainer.

This week we covered Guidetone lines (p159/160), and we did several assignments with the famous II-V-I-progression. Autumn Comes (in VMS > Sections > Sequence of descending fifths) is the VMS-song that demonstrates the essence.
We also studied the phenomenon of Resonance. You'll easily find the relevant movie in the Sound directory.

Homework for next tuesday

• Finish the 2nd half of the melodies on page 19 and harmonize the same ones on p25.
• Add triads to your ear training routine. You can practise them in the Harmony trainer (Services > Ear training centre > Triads-tab). See the upper box for the rest of the elements of this routine.
• If you're open to the water experiment by Masaru Emoto: take two identical glasses of tapwater. Under one you put a note with the word 'love', under the other a note with 'hate'. Wait a night and taste the difference!
  

Homework for next thursday

Go to VMS > Services > II-V-I facilities > Play along and locate the various II-V-I tracks in major (swing or bossa).
Practise the guidetone lines, play them on a piano, vary around them, try bridging the modulation in an adventurous way, and improvise away. The week after next week I will ask you to make a recording, so find out how you can do that technically (smartphones, laptops, zoom devices, etc.). Help each other!

Keep practising with the BP&D trainer in cat 100 and 200. You find it in VMS > Services > Ear training centre > BP&D-tab.

This week we completed the grammar of tonal harmony with one additional movie:
VMS > Basics > Basic Forces > Explanation > The I6/4 chord. The Para dormir
movie illustrates this circular principle of the 'holy trinity'.
We enjoyed Willeke Alberti's Telkens weer as the ultimate example of the sequence of descending fifths in major and in minor.
We also managed to find the chords of The Sound of Silence. with lots of plagal cadences, and - very special - no V7 and no leading tones.

Earlier we watched the first movie in the Classic Chord Progressions. The first collage with sequences of descending fifths was shown in class.

Homework for next tuesday

• With your knowledge of the Tonic, SubDominant, Dominant and the I6/4 chord you are ready to harmonize the melodies on page 25. Please do 5 of them, similar to the first example. Just try, mistakes are - as always - allowed.
• Write a I - IV - I6/4 - V - I progression in A-major, and a I - II - I6/4 - V - I in F-minor, similar to the examples in the movie and the work we did in class, so with singable voice leading. Re-study the movie if you need it, it's in the Basic Forces explanation section of the VMS.

Homework for next thursday

• Transcribe Cat Steven's Morning has broken: the vocal melody and its chord symbols. Mostly diatonic stuff in C. Don't use the piano more than necessary.
• Practise basic progressions and dictations with the BP&D trainer in cat. 100 and 200. You find it in VMS > Services > Ear training centre > Trainer > BP&D tab.

This week we covered VMS > Basics > Basic Forces > Explanation > items 1, 2, 3 and 4.
The overview of all scales and scale degrees in major and minor on p 169/170 has biblical qualities!

Homework for next tuesday

• Make sure that you know and understand the terms on p15 (Holy trinity). Re-watch the movies if you feel you need it.
• Memorize the chord types belonging to each scale degree in major AND in minor.
• Study Para dormir and analyze the first page harmonically (chord symbols and scale degrees). We'll use it for experiencing T, SD and D.
• Fill in page 28 (easy). Optionally you can challenge yourself intellectually with p29.

Homework for next thursday

• Download Frank Sinatra's Fly me to the moon.
  Make a double staff system: the top staff is for transcribing the melody, the lower one in bass cleff for the walking bass. The key signature is blank: no flats or sharps. See if you can find the chord symbols based on the information from the bass and the melody together. You will find a pretty predictable chord progression. Finish the transcription till 1' 12". If you use a repeat sign you'll have less work. Don't use the piano too much, but of course you can check your lines.
• Practise a bit with the scales trainer in VMS > Services > ETC > Ear trainer > Scales trainer tab.

This week we started with learning something about the Physics of sound, the movie on Harmonics/Overtones in the Sound directory.
I also introduced the modal scales. Miles Davis' Flamenco Sketches is a beautiful example of modal music, but Gregorian monks are also worth listening to.
In practicum class we worked on syncopations. The Walking Down The Street exercise is hosted in both programs: Fundamentals : Melody and Rhythm > Play What You See > Exercises, as well as in VMS> Services > Rhythm gym

The answer to the transcription of The Sound of Silence is in the lichtemuziek directory (see upper box). All answer pdfs appear there.

Homework for next tuesday

• Study the movie about the system of chord symbols (Fundamentals > Theory > Expl.) and the movie on Modal scales at the bottom of the same page.
• Fill in page 10 on seventh chords
  
• Fill in page 26 on modal scales)

Homework for next thursday- See the box above for details.

• Spend some more time on the Bach violin sonata if you need it, go to the computerroom H105 or H205 for this. Your personal folder is in Documents H205 > 0Shared folder >Bart Noorman > Opdrachten studenten 2018 > Your first name > BWV1018 > Logic file. Alternatively you can download it to your MacBook by going to this directory.
• Transcribe the melody (the theme, 32 bars) of Chet Baker's Strollin'. First write contour and rhythm, and in 2nd instance use an instrument for finding the right pitch. It is in swing timing, so write 8ths instead of triplets. The movie on timing strategies in the explanation page of the PWYS trainer (shown partly in class) might help.

I introduced both programs, and explained the basic principles of sightsinging.
All logins are activated, don't hesitate to contact me if you can't access the site.

Please obtain 12 staff music paper, pencil (3B hardness recommended), stuff, sharpener, and the VMS Workbook in your language.

Homework for next tuesday:
Fill in page 9 (intervals) in the workbook.
Fill in page 12 (transpositions).
Learn the circle of fifths by heart.

If you don't have the workbook yet print them from Fundamentals > Theory > Exercises (print only the 1st page, p2 is bass clef).
If you need to refresh your knowledge on the Circle of Fifths and on Intervals, study the two relevant movies in the Theory menu of the Fundamentals.

Homework for next thursday
Study Fundamentals > M&R > Sing What You See > Explanation > Sightsinging movie.
Additionally work a bit with the Write What You Hear trainer too.
Work on intervals in Fundamentals > H&T > Harmony trainer.

Transcribe both voices of Simon and Garfunkels Sound of silence (15 bars cover the melody, use a double staff system) without using an instrument (only for a final check). Key is Eb minor. This key is no big deal, as I demonstrated in class. Use the lines of seconds, recognize the patterns! Simplify the rhythm if 16ths are a bit too hard.

Please bring headphones to all thursday classes.
It is a good idea to find yourself an ear training buddy...

Good luck,
Bart