theory and composition unit 2 part 1. bellwork: review skills:

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THEORY AND COMPOSITION UNIT 2 PART 1

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Page 1: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

THEORY AND COMPOSITION UNIT 2 PART 1

Page 2: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

BELLWORK:REVIEW SKILLS:

Page 3: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

OUTCOMES

Scholars Will:

Grammar: Learn the names and values of common

rhythms.

Logic: Do a short composition for Djembe and

Piano

Page 4: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

PIANO POWER

C Major 5 finger pattern and C major scale.

The notes: C D E F G A B C B A G F E D C

The fingering: 1 2 3- 1 2 3 4 5 4 3 2 1- 3 2 1

How to shift:

Page 5: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

TAKE NOTESDouble-flat: lowers a note by two half-steps, or a whole step.

Double-sharp: raises a note by two half-steps, or one whole step.

Enharmonic: a note, interval, or key signature that is equivalent to some

other note, interval, or key signature but "spelled", or named differently.

Octave: the interval between the first and last of eight notes is an octave.

Two notes separated by an octave have the same letter name and are of the

same pitch class.

Page 6: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

MUSICAL LADDER

Music reading is often like climbing a ladder.

Notes alternate line to space

Notes follow the alphabet A B C D E F G A

Page 7: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

CFU: FLYSWATTER

In teams identify the following notes in treble, bass

and alto clef by hitting the letter name of

the note on the board.

Page 8: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:
Page 9: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

DOUBLE -FLAT- DRAW 10 OF THEM

Page 10: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

DOUBLE -SHARP- DRAW 10 OF THEM

Page 11: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

CFU: ENHARMONICS SNOWBALL

Like a notes’ nickname– same note, different name.

On your slip of paper write down three note names (i. e. F#)

then crumple it up and throw it to the front of the room.

Two of the notes should be accidentals.

Everyone will retrieve one slip of paper and write down the

enharmonic equivalent of that note– if you want a challenge,

write out 2 equivalents of the note (when possible!).

Page 12: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

INTERVALS

Melodic vs Harmonic

Melodic Intervals: occur one note after the other.

Harmonic Intervals: occur simultaneously.

Page 13: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

OCTAVE- IT’S GOT 8

Write out 2 examples of an octave on your scholar

guide:

Melodic and Harmonic.

Page 14: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

LEDGER LINE PRACTICE

Identify the ledger line notes written in your

scholar guide.

Helpful hint:

Figure out the name of the line closest to the

ledger line and then work from there.

Page 15: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

TODAY’S LISTENING: MOZART’S REQUIEM:

LACRYMOSA

Highlight the cello part today.

Page 16: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

CADENCES– THE PLAGAL

An “Amen” chord is what is known as a plagal

cadence.

In detail, it is a IV chord resolving to a I chord.

Sing it with me:

Page 17: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

PICARDY THIRD

What makes it so beautiful in this instance, is that we are

expecting a minor chord, but instead Mozart ends with a major

chord—this is called a picardy third.

It refers to the use of a major chord of the tonic at the end of

a musical section that is either modal or in a minor key. This is

achieved by raising the third of the expected minor triad by a

semitone to create a major triad, as a form of resolution.

Page 18: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

DICTATION #2

This dictation is four bars long.

I will give you the starting note.

This is in 4/4 time- four quarter notes per measure.

I will play it 4 times.

The first time only write down the rhythm.

Page 19: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

OTTMAN: 53-54

Page 20: THEORY AND COMPOSITION UNIT 2 PART 1. BELLWORK: REVIEW SKILLS:

EXIT TICKET