Students develop basic ear training skills through performance and dictation. They study melodies, intervals, harmony, and solfege in major keys, as well as basic rhythms in the most common meters.
Students further develop basic ear training skills through performance and dictation and study melodies, intervals, harmony, and solfege in minor keys, as well as more advanced rhythms, meters, conducting patterns, and notation.
Development of ear training skills through performance and dictation. Study of melodies, intervals, harmony, and solfege in Lydian, Mixolydian, Dorian, and Phrygian modes, mixed modes, and harmonic and melodic minor. Continued study of rhythms, meters, conducting patterns, and notation.
Continuation of ET-211. Modal singing and dictation studies. Interval studies, two- and three-part dictation. Basic atonal melodic studies.
This course develops students' sight-singing skills using the traditional movable "do" method through drills in rhythm, interval, and pitch, as well as singing exercises in major keys through four sharps and four flats in G and F clefs. This course includes some studies in minor keys, harmonic studies, part singing, and contrapuntal and harmonic dictation.
Students continue their study of sight-singing and harmonic studies in all major and minor keys, as well as C clef drills and rhythm patterns of increased complexity.
This course focuses on a variety of rhythmic patterns, percussive ostinatos, and melodic repertoire from around the world, with an emphasis on African, Caribbean, and South American traditional and popular music, as well as South Indian classical, Balkan, and Middle Eastern genres. In-class activity includes vocalization and rhythmic externalization exercises based on particular musical examples, general listening and aural analysis, and transcription of selected elements of a musical texture. Students examine music from the perspective of musical cognition, including the potential impact of cultural background on the formation of one's mental representation and the analysis of ambiguous musical structures. Homework assignments entail full or partial transcriptions of rhythmic and melodic elements, as well as exercises involving melodic solfege and rhythmic recitation designed to enhance a student's internal sense of time, pitch, and physical independence through singing or speaking of melody and rhythm in the context of its underlying essential metrical structure.
This course will work within the limited scope of progressions including simple root position diatonic harmony, inversions, secondary and extended dominants, II-V patterns, and passing diminished chords. Chord voicings containing one tension will also be covered. This course will include several activiites that address application to real music situations.
This course is a continuation of ET-331. Chord progressions will be more intermediate to complex in nature. The concepts of modal interchange harmony, substitute dominants, and modulation will be introduced. Voicings containing multiple tensions and upper structure triads will also be covered. More extensive transcription work of real music will be incorporated.
Touching on a variety of contemporary styles such as pop/R&B, jazz, fusion, Latin music, and classical genres as resources for weekly in-class analysis, transcription, and solfege exercises, this course enhances theoretical understanding, aural perception, and performance of rhythm in music. Emphasis is placed on accurate and meaningful interpretation and notation of a piece's rhythmic components, e.g., polyrhythmic percussion grooves, syncopated melodic lines, characteristic comping patterns, or large-scale harmonic rhythms. Furthermore, the cognitive process involved in the construction of a resultant metrical perspective will be discussed. Sight-reading and general rhythmic comprehension are challenged through a series of exercises and drills featuring odd-time patterns and polyrhythmic independence between the voice and the body, as well as advanced studies of mixed subdivisions. The intent is to strengthen internal coordination of multiple rhythmic voices, as well as sharpen one's precision and clarity when performing.
A course designed to teach the student how to transcribe instrumental and vocal recorded material as found in jazz, pop, and rock. Techniques for transcribing melody, harmony, and bass lines. This course is especially recommended for those students wishing to extend their skills in identifying chord progressions and rhythms.
Microtones—intervals from outside the Western system of equal temperament—are a powerful feature of music from many places; they can be heard in traditional music from the Middle East, Asia, and Africa, in jazz and blues, and also in contemporary composed and improvised art music of the U.S. and Europe from the early 20th century to the present. They’re also part of the sound world around us—from birdcalls to car horns to overtones. How can you access these sounds and make them part of your own language? In this course, ear training drills and compositional exercises work hand in hand. Students practice identifying and singing/playing quarter-tones, sixth-tones, and even twelfth-tones (time permitting), exploring new modes of expression as they begin to hear in a different way. Along the way, we listen to a variety of examples of microtonal music from different styles and traditions, examining and transcribing small excerpts, and we conclude the semester with a final composition/performance project involving group collaboration among classmates