MUSI 3212 Scoring and Arranging
Spring, 2016 JGMB 136
TR 9:30-10:20
Instructor: Mr. Mark Crim
Office: REDW 107
Phone: (903) 923-2168 office (903) 576-1455 cell
E-mail:
Note: You are welcome to “friend” and message me through facebook, although facebook should not be used for academic communication.
Office Hours:
TR 11am-Noon and MTWR 2-4pm To make an appointment email me or call (903)923-2168 and leave a message.
Course Description: This course is designed as a study of the capabilities and limitations of orchestral and band instruments, voice and piano. Students will be engaged in transcription, arranging and composition exercises for small and large performance groupings, some specific to their area of expertise. Prerequisite: MUSI 3303
Course Objectives: The purpose of this course is to:
1. Develop the student’s skills in scoring, arranging, orchestration and composition.
2. Expose the student to various composers, arrangers and excerpts of classical literature that demonstrate excellence in orchestration and arranging.
3. Review and incorporate knowledge and skills from music theory, instrumental and vocal methods, and music history.
4. Make use of Finale© and other music software packages available for arranging and composition projects.
Required Text & Materials:
Blatter, A. (1997). Instrumentation and Orchestration (2nd ed.). Belmont, CA:
Wadsworth/Thompson Learning ISBN 978-0534251871
Methods of Instruction: Lecture format accompanied by student participation through group discussion,
weekly assignments (in-class and take-home), score reading, listening to and evaluating various examples of orchestral literature, and lab work using various technology resources.
Reading Quizzes (10) 15%
Written Exams (4) 30%
Orchestration Projects (5) 30%
Final Project 25%
Grading Scale: A = 90 – 100%
B = 80 – 89%
C = 70 – 79%
D = 60 – 69%
F = 59 & below
Assignments
· Daily Reading Quizzes: Weekly quizzes will be administered to encourage reading of the assigned material.
· Written Examinations: Exams on reading, listening and lecture materials.
· Orchestration Projects: Students will be expected to orchestrate, arrange and transcribe music for a variety of large and small ensembles.
· Final Project: A final project will be assigned with the assistance of the professor in the student’s major area of interest. The project will reflect the elements studied in the course. A live performance of the project will be expected, if possible.
Course Policies
Academic Integrity
Students enrolled at East Texas Baptist University are expected to conduct themselves in accordance with the highest standards of academic honesty and integrity avoiding all forms of cheating, illicit possession of examinations or examination materials, unwarranted access to instructor’s solutions’ manuals, plagiarism, forgery, collusion and submissions of the same assignment to multiple courses. Penalties that may be applied by the faculty member to individual cases of academic dishonesty by a student include one or more of the following:
• Failure of the class in question
• Failure of particular assignments
• Requirement to redo the work in question
• Requirement to submit additional work
All incidents related to violations of academic integrity are required to be reported to the Vice President for Academic Affairs and multiple violations of academic integrity will result in further disciplinary measures which could lead to dismissal from the University.
Attendance Policy, Late Work, and Make-Up Work
Class attendance is critical to each student’s success in this course. Attendance at every class meeting is expected and required. Students who miss class will be required to demonstrate the knowledge and skills from that class session. No tests will be administered after a class has been missed except in extreme circumstances as determined by the instructor.
In the case of a University approved absence, the student must make arrangements to turn in assignments and take quizzes or tests before or after the missed class.
Student absences will impact the final semester grade accordingly:
0-4 absences: no grade change 5-6 absences: lowered one letter
7-8 absences: lowered two letters 9th absence: Failure due to absences (XF)
Student Expectations - Additional Policies
In-Class Expectations: This course is preparing you for professional work in the music field. As such, students are held to high standards of excellence and professionalism not only in their academic work but in their classroom behavior as well. Students should prepare for class by reading the assigned material and completing any written assignments and actively engage in class discussion. Students should interact with their peers and the professor in an affirming and encouraging manner, asking questions and contributing to the class discussion in a positive way. Any behavior that is in any way disrespectful or disruptive in any way will not be tolerated. The professor will handle such situations in an appropriate manner including requiring offending students to leave the class and reporting such behavior to the Dean of Students.
Cell Phones: Students are respectfully requested to silence all cell phones (including notifications) during class and to keep those phones completely out of sight during class. Cell phone etiquette is still evolving, but respect for your professor and fellow students should be your guide in appropriate use.
Online Communication: Students are encouraged to both seek and provide assistance with course material via the discussion thread on Blackboard. The faculty member may check that thread and participate in the discussion during the semester. In keeping with the policy of professional standards printed above, a student who emails the professor should do so in a manner that demonstrates college-level writing skills. Professional emails include salutations and signatures, complete sentences, and proper use of grammar and capitalization and punctuation. However, if a student seeks assistance from the professor and does not desire a personal consultation, he/she is encouraged to email the professor any questions. As a general rule, students who do not attend class should seek assistance first from other students who attended. Only after a student seeks assistance from peers and demonstrates that he/she has made an effort to understand the material through personal study will the professor meet with student to provide help. Students should not use Facebook or other online social networks to communicate official academic business.
Disability Statement
A student with a disability may request appropriate accommodations for this course by contacting the Office of Academic Success and Graduate Services, Marshall Hall, Room 301, and providing the required documentation. If accommodations are approved by the Disability Accommodations Committee, the Office of Academic Success and Graduate Services will notify you and your professor of the approved accommodations. You must then discuss these accommodations with your professor
Tentative Semester Outline
DATE / Chapter Readings / Assignments / Listening Selections (in class)Jan 12-14 / Introduction & Course Overview
Finale© Overview / Finale Project
Jan 19-21 / No class Monday: MLK Day / Benjamin Britten Young Person's Guide
Chapter 12: Ensembles / Problem 2 / Gabrielli; Canzona septimi toni a 8
Chapter 1: Score & Part Writing / G.P. Rameau; Hippolyte et Aricie
Jan 26-28 / Finale overview & proficiency / Prob. 5 & 6 / Claudio Monteverdi, L'Orfeo
Feb 2-4 / Review / Mussorgsky / Ravel, Pictures at an Exhibition
Exam 1: Ensembles and the score / Hector Berlioz, Symphonie Fantastique
Feb 9-11 / Chapter 2: Strings / Samuel Barber Adagio for Strings
NO CLASS THURS TMEA / Gustav Mahler Adagietto from Symphony No. 5
Feb 16-18 / Chapter 3: Woodwinds / String Arr. / Camille Saint-Saëns, Carnival of the Animals
Malcolm Arnold, Four Scottish Dances
Feb 23-25 / Review / Sergei Prokofiev, Peter and the Wolf
Exam 2: Strings and Woodwinds / Paul Dukas, Sorcerer's Apprentice
Mar 1-3 / Chapter 4: Brass / Woodwind Arr. / Strauss, Vienna Philharmonic Fanfare
Mahler, Symphony No. 5
Ewald, Symphony for Brass
Mar 8-10 / Chapter 5: Percussion / Brass Arr. / Maurice Ravel, Bolero
Minoru Miki, Marimba Spiritual
Milhaud, Concerto for Percussion and Orch.
Mar 15-17 / No Class (Spring Break)
Mar 22-24 / Review / Percussion Arr.
Exam 3: Brass and Percussion
Mar 29-31 / Chapter 7: Voice / Walton, Belshazzar’s Feast
Barber, Agnus Dei
Apr 5-7 / Chapter 6: Other Instruments / Voice Arr. / Carl Orff, Carmina Burana
Pytor Tchaikovsky, 1812 Overture
Apr 12-14 / Exam 4: Voice and Other Instruments / C.S.S, Organ Symphony / P.T., Nutcracker
Chapter 8: Scoring the Elements / Bartók, Music for Strings, Percussion & Celesta
Apr 19-21 / Chapter 10: Transcriptions
Apr 26-28 / Work on Final Projects / Make an appointment with me to review/revise
your project.
May 3? / Final Exam / Final Project