OVERVIEW
Week 1 Class
1 What
is sound?
Week 1 Class
2 Evaluating
Sound
Week 2 Class
1 Organized
sound
Week 2 Class
2 From
the general to the specific
Week 3 Class
1 Performance
of homework
Week 3 Class
2 Pitch
Week 4 Class
1 Pitch
definition
Week 4 Class
2 Instructor
performs homework
Week 5 Class
1 What
is Meter?
Week 5 Class 2 Pitch
and Meter
Week 6 Class 1 The
Major Chord
Week 6 Class
2 The
Pentatonic Scale
Week 7 Class
1 Scale
Patterns
Week 7 Class 2 The Major Scale
Week 8 Class 1 All Twelve Notes
Week 8 Class 2 The Beginnings of Staff Notation
Week 9 Class 1 Notation Continued
Week 9 Class 2 Rhythm
Week 10 Class 1 Rests and Triads
Week 10 Class 2 Melodies and Chords
Week 11 Class 1 Chord Progressions
Week 11 Class 2 Antecedence and Consequence
Week 12 Class 1 Chord Substitutions
Week 12 Class 2 The Minor Scale
Remainder of Course reserved for one-on-one consultation
Week 1,
Class 1
What is
Sound?
Pose
question to class ÒWhat is sound?Ó
Lead
discussion toward scientific definition
-perception
of vibration by our ears
Draw
analogies between ocean waves and sound waves
Why?
Connecting
something abstract to something known to students
Introduce
the idea of wave motion (medium does not move)
Vibration
is a faster version of the know as ocean wave motion
Are all
sounds alike? How to describe
sound? What words would we use?
Introduce
elements of sound:
Frequency
(high or low), Amplitude (Loudness), Duration, Timber
Lead class
in discussion of example for each term.
Use
ruler on desk to demonstrate higher and lower sounds corresponding to ruler
length hanging over the desk. Energy into the ruler as amplitude, and my
stopping the sound as examples of different durations.
Lead class
in describing other sound using these terms
Homework:
Make a list
of sounds that fit into these categories:
High sound
Low sound -
objective descriptions
Long sound
Short sound
Harsh sound -
subjective descriptions
Pleasing
sound
Week 1,
Class 2
Evaluating
Sound
Begin by
having class read their homework in class.
Use harsh
sounds and pleasing sounds to talk about overtone structure and formants.
Demonstrate harmonics coming from a low piano C to illustrate the existence of
harmonics.
Lead class
in a discussion about the music they like, and if their parents like it.
Introduce
the idea that music can reflect cultural values and define group of people from
others. Sounds that do not reflect our values are often called NOISE. Sounds
that reflect the highest ideas of our culture are referred to as MUSIC.
Make sure to
frame entire course as a discussion of the esthetic values of what the West
culture finds beautiful.
Make clear
that in the beginning of this course, we will suspend the evaluation of sound
on an esthetic basis, and concentrate more on gaining technique and skill in
manipulating sonic material.
Homework:
Composition
Exercise Ð We learned about the
elements of sound last class.
Think
of various ways one might depict those elements using any manner of graphic
representation
Week 2,
Class 1
Organized
sound
Experiment: Clap
2 rhythms to the class, one very complex to the point of being random, the
other clear and simple. Ask the class to clap back the rhythms in a call and
response.
Ask them why one was easier to clap
back
Discuss
Pattern Recognition
Move towards
a definition of organized sound.
What does
the word organized mean?
Functioning within a formal structure, as in the coordination and direction of activities. (American Heritage Dictionary)
Go over
homework from Week 1, Class 2
Try to
ÒperformÓ some of these scores. Try to come up with ways of making various
sounds that might correspond to what the score indicates with anything that
might be at hand in the class.
Modify score
by repeating some aspect.
Draw
attention to repetition of some musical element make music more coherent, and
draws it close to being organized
Modify last
homework assignment by requesting they have some sort of repetition in their
ÒscoreÓ
Week 2,
Class 2
From the
general to the specific
ÒPerformÓ
homework from Week 2, Class 2.
Lead class
in discussion of comparing this experience to the group of ÒcompositionsÓ
without repetition.
Lead class
in an overall evaluation of the various methods that people had represented
musical events, and try to draw their attention to the time spent learning
everyoneÕs individual notational system.
Try to lead
them to adopt a common notational system.
Steer class
towards notation similar to Ògraph paperÓ notation, where time is indicated by
the x-axis and pitch is indicated by the y-axis. (Similar to graphic windows
used in most computer sequencing software)
Take class
through the process of composing using this method. Talk about how dynamics may
be indicated (thickness of line or color) and density of activity (introduce
that more than one activity can occur at one time)
Homework:
Class is to
compose a graphic notation piece using the common language developed in class.
Sounds for performance are not to be determined at this time.
Week 3,
Class 1
Performance
of homework
Show score
of Earl Brown ÒDecember 1952Ó and play a recording if available. (score consist
of black rectangle on a white page of various sizes and shape)
Talk about
the problems inherent in this type of score by leading the class through a
discussion of why this way of working doesnÕt create results resembling what we
would normally call music.
No exact way of ensuring the same
high or low sounds
The
second is too large a time unit to me musically useful
No
way of indicating what sound should represent the ones being written
Conclusion:
This form of notation is too general to be reliable
Talk about
ways we could make the various elements of music more accurately represented in
graph.
Week 3,
Class 2
Pitch
Go over the
elements of music again, and ask some question about frequency.
Repeat ruler
on desk experiment, showing correlation between length of vibrating body and
how high or low the sound is
Play some
excerpts from StockhausenÕs Kontakte where bands of electronic sounds are
sweeping through the frequency spectrum, then play Tuvan overtone singer, a low
constant tone sustained for several seconds
Ask the
class in which one might we better be able to discern pitch elements and why.
Draw
squiggles on the board resembling the two examples
With
Stockhausen, one is aware of contour first
With
Tuvan singer, one is aware of pitch
Remind class
of the waveform model of sound
Draw
attention to the repetition that occurs in sound waves
Discuss how
the frequency of sound waves are measured
Indicate
the frequency of several pitches on the keyboard
Devise an
experiment where the class is asked to sing or play the correct pitch according
to it frequency number. This of course will prove to be unsuccessful
Put forth the
relativist method of pitch recognition
Draw
a single horizontal line on the black board and place marks on, above or below
the line. Play a reference tone. This tone refers to the notes on the line.
Play notes above, on or below the reference tone, following the mark made above
and below the line. Intentionally play some ÒwrongÓ to see if the class can
follow the notation.
Homework:
Ask class to
compose a similar work, consisting of a line and marks on, above or below the
line.
Week 4,
Class 1
Pitch
definition
Perform
homework from previous class
Discuss what
are the pitfalls of this kind of notation.
Higher
and lower pitches are indicated, but how much higher and lower is unclear
If
we decide that higher and lower simply mean the closest distinct pitches above
and below the note, what about notes that are further away
Introduce
distinct pitch
Reintroduce
harmonic series, and talk about the role of math (multiplying integers to
fundamental) involved in producing overtones
Draw
attention to the first overtone, the octave. Take a note on the keyboard (A
below middle C) and determine its frequency (Tell them this has been done
before class, and the number is 440 vibrations (cycles per second). If we
multiply the frequency by two, we have a pitch at 880 cycles per second, or
Hertz. Play the second pitch. Draw the classÕs attention to this soundÕs
similarity to the original pitch. Play other pitch to confirm.
Show
class the piano keyboard. Tell them the piano can produce a good cross section
of available frequency, and we should be able to find any pitch we want there.
Sing a random pitch and find it on the keyboard. Show the distance between 440
and 880 on the keyboard. Draw classÕs attention to the great distance between
notes.
How
do we bridge this distance between notes? Introduce the smallest distance
between notes we can hear. WeÕll call it ÒThe Small Step.Ó Tell class is just
so happens that any two adjacent keys on the piano are one Òsmall stepÓ apart,
and it just so happens that there are twelve Òsmall stepsÓ between any
frequency and its first overtone (double the frequency).
In class
assignment: do another example of the homework, but indicate how many Òsmall
stepsÓ above and below the reference pitch you would like the performers to go.
Instructor performs assignment
Homework:
Do 3 more
examples, and experiment with different numbers of Òsmall stepsÓ End some on
the reference pitch, and some on other pitches.
Week 4,
Class 2
Instructor
performs homework
Discuss
accuracy issues, are all the performances consistant?
Take
examples of work that has a high number of reference pitches, and take one with
a low number of reference pitches. Pick one that ends on the reference tone,
and one that does not.
Reintroduce
the notion of repetition, and how that helps us remember musical object.
Examples that repeat the reference tone have a more organized feel to them,
while examples that donÕt sound more chaotic.
Draw
attention to the lack of control this notation has over Ògraph notationÓ
concern the accuracy of time. Recall that while having second clock was useful,
the second was too large a time unit to be use for musical construction.
Introduce
concept of Beat and Pulse
As
class to listen to their pulse or heart beat
Lead
discussion as to what they hear
A
beat is a stress stimulus that can be heard or felt
A
pulse is an undifferentiated stream of beats occurring at regular intervals
Since a
pulse is something that we can feel or hear, and therefore something that we
can internalize, we can use it as a means of coordinating the measure of
musical time.
Instead of
measuring events in terms of seconds, event duration can exist based on a
shared internal sense of pulse. An event may last for so many beats, and the
speed of the beat is something that can be changed during the continuation of
pulse, just as our heartsÕ beat in a continuous fashion, even though its rate
may vary depending upon our activity.
Homework:
Create a
ÒgraphicÓ score, but instead of seconds, measure time in beats
Week 5,
Class 1
What is
Meter?
Perform
homework from Week 4, Class 2
Make clear
in class the STUDENT sets the tempo for the examples.
Introduce
concepts of pulse speed (tempo) and meter
Remind
class of the clapping exercise from Week 2, Class 1
Clap
a series of beats a regular moderate tempo, making sure to do more than 20. Ask the class to
recall how many times you clapped.
Then
clap 12 beats in groups of 3 and it should be easier for the class to guess the
right number of beats
Make the
point of how it is much harder to comprehend an undifferentiated stream of
pulses rather than the repetition of a pattern with a beginning stressed beat.
THIS IS THE ESSENCE OF METER!
Demonstrate
to the class several different meters, some odd as well as common.
Also
introduce the idea of changing meter as a possibility, but make it clear it is
something to be explored at a later date.
Really
emphasize the ÒgrooveÓ aspect of the exercise. This is probably one of the
first exercises that feels like it has some relation to what the students
consider music
The
repetition of a group of beats organized by a pulse is called Meter
Do some
clapping exercises in various meters of 2, 3, 4, and 5
Draw
attention to the feeling of expectation that comes as the beginning of a new
cycle of beats begins
Create a
graphic composition in class using a set meter. The number of pulses should be
less than 5 beats. Show that with beats and meter, you can regulate material in
terms of importance by placing at the beginning of the cycle, or within the
cycle
Homework:
Create a
graphic score use a repetition of a small number of beats (between 1 and 5)
Week 5, Class 2
Pitch and Meter
Perform Homework
Point
out assignments that place some sort of metric emphasis through placing
material at the beginning of each metric unit
Show examples of meter from common
practice repertoire, and use maybe
North Indian classical music (tala
system)
Re-introduce Pitch and how it may
serve meter
--Compose
a melodic line using the line notation used in Week 4, Class 1. Only use a main
pitch plus one Òsmall stepÓ (semitone) above or below
--Select
a meter of 3. Place main pitch on beats 1 and 2, place other pitch on beat 3.
Perform or sing with class
--Repeat
the exercise, but exchange the positions of the pitches
--As
class to comment on the two examples.
Lead
discussion towards the perception of Òmain pitchÓ changes with its relation to
meter. Try other pitches at different distances from the main pitch to see if
it alters the results.
Pitch
perception is dependant on metrical position
Create other melodies with a wider
variety of pitches and see if any other
factors play
a part of in the recognition of main pitch.
Go over the
elements of sound again from Week 1, Class 1
Would
differences in dynamics, register, duration or timber play a part in our
assigning priority to a given pitch?
Divide the
class into several groups. As them to try to compose an example that emphasizes
one of the elements of sound. Pitch and register can be assigned generally or
specifically, just designate the main pitch by labeling in the example. Invent
a way to indicate the given loudness of a given pitch by indicated with words,
or the size of notes, or some other manner that makes clear what part are to be
loud, and what parts are to be soft.
As for
timber, use an added sound to emphasize a particular note. Try to use a more
percussive sounds such as hand claps or ruler slaps, or any other appropriate
sound.
Discuss the
sound the results
Homework:
Composer
example using the best notations from the class
Week 6,
Class 1
The Major
Chord
Discuss
homework and the class findings
Lead
discussion towards LOUDNESS, HIGHER REGISTER AND PERCUSSIVE sounds seem to add
to metric position indicating priority in a group of pitches.
Defining
pitch:
Re-introduce
the harmonic series. Show the major chord in harmonics 3, 4 and 5. Play this
sound on the piano.
Remind the
class that there are 12 distinct pitches between a note and a note double its
frequency, usually referred to as the octave.
If we
measure the distance between harmonic 3, 4, and 5 against the 12 pitches
between and octave, the distance is as follows.
1 (2 3 4) 5
(6 7) 8 (9 10 11 12)
Make a point
of this as the fundamental sound of western music. We will refer to this as a
Major Chord.
In class exercise: Hand out a sheet of piano keyboard paper.
Pick a starting key, use the above distances to make
Do
several examples and review each one.
Homework:
Two Parts
Part 1: construct the
ÒMajor ChordÓ on each note of the portion of the piano keyboard handout
Part 2: As best as you
can, describe the piano keyboard. Write down anything you might notice, and try
to think of reason for the arrangement of the keys.
Week 6,
Class 2
The Pentatonic
Scale
Go over
homework.
Begin the
discussion of the piano keyboard.
Describe for
the class that the keyboard as a maximally harmonic instrument.
Play for the
class 2 harmonic intervals: a semitone and a tone.
Ask the
class which of the two sounds is less harsh. Show them that the harsher sound
is what weÕve referred to as the Òsmall stepÓ, which is the sound created by
any two adjacent keys.
Show the
split in the keyboard between the white keys and the black keys. Show that
there are no adjacent keys between black notes. Most notes are 2 small steps
away from each other. Show that sound as the second one played, which we will
refer to as the ÒBig StepÓ
Distances
between Black Keys:
Note to the
class the black keys are arrange in groups of twos and threes.
Since it is
a cyclic pattern, from where do we begin measuring?
If we begin
on the group of three, the distances are as follows:
1 (2) 3 (4)
5 (6 7) 8 (9) 10 (11 12)
If we
compare this with the major chord,
1
(2 3 4) 5 (6 7) 8 (9 10 11 12)
we
can see the major chord is buried within the black notes.
What are the
notes that are added to the Major Chord that are in the black keys? Each one of
the extra keys is a Òbig stepÓ away from the one of the notes of the Major
Chord. Since the Major Chord comes from the harmonic series, and Òbig stepÓ is
less harsh than the Òsmall stepÓ, then we shall conclude that the whole
collection of notes is in accord with itself, and we shall describe this as
consonant.
Homework:
Map the
distances between notes of the black keys onto othestarting points of the
keyboard. Do one is class if there is time
Week 7, Class 1
Scale Patterns
Have students put some of their
examples on the board.
Small Steps, Big Steps and Reaching
for the Octave.
Notice that in the black keys, there is a large gap between the third and fourth notes, and a smaller gap between the fifth and the beginning of the pattern again.
What would we need to do in order to move through the octave without any gaps?
Using math, if we have 12 notes and we have the small and large steps, we can make our way through the octave using all twelve pitches, using only smaller steps, or using six pitches, using only big steps.
Demonstrate and show on the board.
Ask class to map both patterns on their piano keyboard, and use different starting notes to create these patterns.
The problem with symmetrical pitch patterns: just as the pulse was harder to differentiate without meter, so too the pitches of these patterns are harder to discern without some sort of definition.
Homework:
How can we make this pattern non-symmetrical without having gaps between notes. Try to use as few notes as possible.
Week 7, Class 2
The Major Scale
Review classes findings.
Show a number of different patterns:
Octatonic
Several church modes
Overtone scale
Show the major scale and draw attention to its Major Chord and Pentatonic relations.
Pattern of Big and Small steps
1 (2) 3 (4) 5 6 (7) 8 (9) 10 (11) 12
The other two notes are a small step away from notes of the Major Chord, and in themselves form an interval of great tension. Movement from this interval to the notes of the Major Chord provide the necessary tension and release that most western music is built upon.
Seeing as this seven note collection is the norm, musicians usually on refer to the notes of this collection by the first seven letters of the alphabet.
Show the relationship of the scale pattern, and the piano keyboard, and show where the note C is, and how to build a C Major scale.
Homework:
Without naming the notes, try to map out the steps of a Major scale onto other starting point
Week 8, Class 1
All Twelve Notes
Check homework
Go over C scale and make sure student can find C and name all the keys in an ascending C scale. Make sure to draw attention to the circular nature of the naming notes. Since the musical alphabet only has seven letters, if we come to the last letter, G, we must name the next ascending note A.
Black keys are named in relation to the white keys.
If a black key is to the right of a white key, it has the same name as the white key with the word sharp added to it to designate that it is note part of the Òwhite noteÓ collection.
If a black key is to the left of a white key, then it has the same name as the white key with the work flat added to it.
Point of logic: all black keys have a white note to the left AND the right of them, therefore, each key has two names.
HOW DO WE KNOW WHAT NAME TO CALL A BLACK KEY ON THE PIANO?
Follow these steps:
1. Pick a starting note of a scale
2. Write the other letters of the musical alphabet until you use them all one
3. Follow the pattern of Òbig stepsÓ and Òlittle stepÓ in order to map a Major Scale on the piano keyboard use your desired starting note
4. Make the letter of the alphabet on the keys. When you come to a black note, use the next available letter name to decide if it should be sharp or flat
Do several examples on the board with the class.
As a few pupils to go up to the blackboard and try to construct a scale
Ask them to do one at there desk, on their own.
Homework:
Give the students a few starting notes for the construct of scales. Make sure you pick a few that use sharps and flats.
Week 8, Class 2
The Beginnings of Staff Notation
Check Homework
Discuss problem areas, and if necessary, go over the rules of scale construction again.
Combining elements.
Take the first 3 notes of the Major Scale. C, D, E. Show a notation system that consists of 2 lines with a space between then. The bottom line will represent C, the space with represent D, and the next line with represent E.
Write a number of variations on the board using only these three notes.
Ask the class to label and call out each note in your examples. Play each one. Draw attention to E, D, C sounds just like ÒThree Blind MiceÓ
Introduce stemless noteheads to represent holding notes for a pulse
Pick a meter and have students write melodies using stemless notation.
Homework:
Extend the range of pitches to one Òsmall stepÓ above E and one Òsmall stepÓ below C. What are these pitches names and how would they be notated in our current system? Write 5 melodies in various meters using these notes
Week 9, Class 1
Notation Continued
Go over homework. Ask a few students to put their examples on the board.
Draw attention to various compositional features of various melodies such as contour and repetition.
Introduce the Grand Staff
Extrapolate the notation of the homework to cover all the pitches of the piano keyboard. Associate the middle C of the piano with the note in the middle of the Grand Staff.
Do some note counting exercise to teach student how to find notes on the Grand Staff. Do exercise that move from the page to the keyboard and visa versa.
Introduce the ÒSharpÓ and ÒFlatÓ sign. Introduce Ledger lines
In theory, the students should be able notate any pitch on the piano keyboard. The remainder of the term will consist of giving the students adequate practice so that they recognize pitches at sight.
Introduce division and multiplication of the pulse. Introduce the idea of stems and beams
Homework:
Draw various pitches on staff paper and label the notes on the piano keyboard. Compose 2 melodies using a few pitches and using stemmed and beamed note head to determine the speed of various pitches.
Week 9, Class 2
Rhythm
Go over homework. Discuss various esthetic attributes to the melodies the students are writing. Put a few more examples of naming pitches on the blackboard and as the students to name them.
Introducing Rhythm
Talk about the experiments the students did with using stemmed and beamed note heads.
Go over beat, pulse and talk about the irregular stress pattern over the pulse that they created for homework, and bring to their attention that this is the essence of rhythm.
Go through the general way in which western notation uses open note heads, solid note heads and beams to divide of multiple the pulse by factors of two.
Introduce traditionally notated meter
Make sure to stress the notation is a visual stimulus to the performer. What visual symbol (note head types) are uses are really at the composerÕs discretion. Explain a time signatures tell us how many beat are in a pulse pattern (bar) and what symbol we are using to notate that pulse.
Homework:
Compose 5 melodies using the Grand Staff and a meter of the studentÕs choice. Limit pitch selection to the C scale. Do as many examples together in class as possible before dismissal. Remember, students are still learning how to read the Grand Staff, so always find was of teaching them how to find notes on the bass and treble clef
Week 10, Class 1
Rests and Triads
Go over homework. Talk about aesthetic issues with the class.
Introducing Rests
Play class some melodies that contain rests. Talk about the importance of the absence of sound, and if they are responsive, talk about CageÕs 4Õ 33Ó
Compose some melodies with the class using rests
Introducing Triads
Re-introduce the Major Chord from the harmonic series. Emphasize the size of the intervals between the notes of the chord. Go over the construction of the Major Scale, and show the Major Chords place within that structure. Extrapolate the construction of the Major chord onto every other note in the C scale. Play through these chords for the class. For now, only use the scale degrees to identify chords.
Show that chords on IV and V have the same intervallic structure as the Major Chord.
Homework:
Construct chords for every one of the twelve pitches on the octave. Spell them out for the class so that the most common names for the Òblack notesÓ are used. Composer 2 melodies using rests
Week 10, Class 2
Melodies and Chords
Go over homework on the blackboard. Make sure every scale is represented, and make sure all the sharps and flats are correct.
Combining Melodies and Chords
Remind the class of the similarity of chords built on the first, fourth and fifth degree of the scale. Re-discuss the relationship of the pentatonic scale in relation to the Major Chord. Map these relationships onto the chords built on scale degrees four and five. Point out that leave two notes of the seven-note scale unaccounted for. These notes are to be treated with special care, as they conflict with one of the notes in the chord.
Go through all the examples of concerning melodies against chords on I, IV, and V. Show the same melody against different chords.
Do a few examples in the various keys. Ask the class to do a few on the board or at their desks.
Homework:
Create melodies over chords I, IV, and V. Use rests and scales on every degree of the chromatic scale. Always leave a bar of rests between chords.
Week 11, Class 1
Chord Progressions
Go over homework. Talk about esthetic issue with the class.
Introduce the I, IV, V, I progression.
Discuss the idea of harmony as an organizing factor in western music. Show that these chords contain all the notes of the C scale, and by ruling out other keys by process of elimination, it provides a kind of clarity for the listener. Stress the importance of Òharmonic rhythmÓ, the occurrence of chords at regular intervals with regard to the meter in providing this clarity.
Do many examples at the board, in several keys!!
Compose melodies over these progressions. Subtly introduce ideas of repetition and variation in these melodies.
Do many examples at the board, in several keys!!
Homework:
Ask the students to work on one melody in C using repetition and variation that can be harmonized with the I, IV, V, I progression
Week 11, Class 2
Antecedence and Consequence
Go over homework. Discuss esthetic issues.
Introduce Phrase Structure.
Show that the I, IV, V, I can be used in a four bar pattern.
Show the class that sometimes chords can be repeated, and introduce I, IV, V, V, followed by I, IV, V, I.
Talk about antecedence and consequence, and how that might be use to construct larger musical units.
Construct a number of 8 bar antecedence and consequence melodies for the class. Try some in various keys. Ask the students to try some at the blackboard.
Homework:
Write 2 melodies that conform to the 8 bar antecedence and consequence models used in class.
Week 12, Class 1
Chord Substitutions
Go over homework. Discuss esthetic issues.
Alteration to the I, IV, V, I progression
Chord substitution. The II chord.
Show the class the similarity between the IV and the II chord.
Play some examples from the classÕs homework where II is substituted for IV. Try other chords such as III to make the point that substituting any chord will note do.
Chord substitution. The VI chord.
Explain how the VI chord substituting for I has come to be called the deceptive cadence. Play some examples from the classÕs homework where I is substituted for VI
Introduce Triplets to the class
Do some examples in class where some chord substitution and repetition occurs. Try several keys. Use triplets in melodies if possible
Homework:
Create and few antecedence and consequent phrases have a few substitution. Use triplets in melodies.
Week 12, Class 2
The Minor Scale
Go over homework. Discuss esthetic issues
Introduce the Minor Scale
Talk about the church modes and how the Major scale is one of the modes that triumphed over the others. The minor scale is the only other mode to be widely used since the fall of the modes.
Talk about intervallic differences between the Major and Minor, and also talk about the formation of chords and the various alteration to the minor in making it more similar to the Major in chord construction, most notably the V chord.
Write a melody using the Major Scale on the board. Write the same melody on the board using the notes of the Minor Scale. Draw attention to difference between the two. Try to emphasize the emotive aspects of the Minor Scale
Homework:
Try writing antecedent and consequent phrase using the minor. If possible attempt some chord substitution.
Weeks 13 and 14
Remainder of classes devoted to private composition lessons
