CCUPage 112/11/2018

SYLLABUS

PMW 111 Beginning Aural Skills

CCUPage 112/11/2018

CincinnatiChristianUniversity, Fall 2009

9:00-9:50 a.m., MW(F),

One Semester Hour Credit

Professor Gary J. Gregory

phone 244-8174/ home 921-4736

Email:

CCUPage 112/11/2018

Description, Rationale and Purpose for the Course

“An introductory music course focusing on sight singing rhythms and melodies.” For a person to effectively serve in music ministry, it is essential that he or she has developed aural skills, including sight singing and ear training. The purpose of this course is to introduce each student to musical note reading, hearing, and singing (aural theory) as the basis to his or her musicianship.

Instructional Objectives

Sight Singing Goals:

  • Sing practiced melodies and melodies at sight, using numbers, on the level of difficulty of Chapter 9 of our text. The melodies will be in major mode and in treble and bass clefs.
  • Perform prepared rhythmic patterns and rhythms at sight of a length equivalent to 6 measures in 4/4 meter. The patterns will include simple and compound meters, divisions, and sub-divisions of the beat, dotted rhythms, rests and syncopation.
  • Recognize aurally and vocally reproduce all major, minor, augmented and diminished intervals. Sing arpeggiated chord sonorities of major, minor, and dominant seventh chords and diatonic chord functions.
  • Sing harmonies at sight using numbers or solfege syllables.

Aural Training Goals:

  • MEMORY: Hear and play or sing back a melody or a rhythm. Perform assigned melodies by ear on piano or another instrument.
  • IDENTIFICATION: Identify simple triads, modes, intervallic patterns, and cadences.
  • TRANSCRIPTION: Transcribe relatively familiar melodies, from sound into notation.
  • AURAL IMAGING: Improve ability of aural imaging, turning notated music into sound as a mental (and aural) image.

Course Procedures

Notice: These course plans are subject to change during the semester at the discretion of the professor.

1.You will be expected to attend every class. Daily grades missed due to absence from class may not be made up. The school policy on absences will apply. The absence limit will be figured for a class that meets three times a week (6 absences). Three tardies equal one absence. After the second absence one percentage point will be deducted from the final grade for each additional absence.

2.Class procedure will consist of drills and practical application of aural skills as outlined above. Daily scores will be given for student participation. These daily scores will accumulate to form the daily grade for each unit. Daily grades cannot be made up.

3. Depending on the progress of the class, there will be two or three exams plus a final exam. Exams will be announced at least two class periods in advance

4. Friday classes will be offered for students who are interested in extra work/extra credit to develop the musicianship skills needed for the class.

  1. The final grade for the semester will be figured as follows:

Daily Grades = 60% Exams = 40%

6. After the second absence one percentage point per absence will be subtracted from the final average and applied to the final grade.

Tentative Agenda

Weeks 1-4

Work on Sight singing and rhythm exercises.

Use of the hymnal and worksheet exercises for daily practice.

Beginning Week 5 the following Units in our textbook will be added to the class activities.

Weeks 5-8 Unit 1 (Sept. 22 - Oct. 15)

___Melody 1A Melodic Dictation: Scalewise (Conjunct ___Diatonic) Melodies

___Melody 1B Mode Identification: Major and Harmonic Minor Scales

___Melody 1C Scale Degree Identification: Single Notes

___Melody 1D Intervals: m2, M2, m3, M3

___Melody 1E Models and Embellishments: Short Melodic Structures

___Harmony 1A Chord Function Identification: V Triads and I

___Harmony 1B Chords in Music Literature: V Triads and I

___Harmony 1C Harmonic Rhythm

___Harmony 1D Triad Position Identification: Major and Minor Triads

___Harmony 1E Chord Quality Identification: Major and Minor Triads

___Harmony 1F Triad Factors in the Soprano

___Rhythm 1A Rhythmic Dictation: Rhythm Including Half- Beat Values

TRANSCRIPTION 1 – Due Oct. 20

Weeks 9-12 Unit 2 (Oct. 20 – Nov. 12)

___Melody 2A Melodic Dictation: Melodies Using m2, M2, m3, M3

___Melody 2B Mode Identification: Major and Three Forms of the Minor Scale

___Melody 2C Scale Degree Identification: Two Notes

___Melody 2D New Intervals: P5 and P4

___Melody 2E Models and Embellishments: Descending Thirds in Two Voices

___Harmony 2A Chord Function Identification: IV, V Triads, and I

___Harmony 2B Chords in Music Literature: IV, V Triads, and I

___Harmony 2C Nonharmonic Tones: Introduction

___Harmony 2D Triad Position Identification: Major and Minor Triads

___Harmony 2E Chord Quality Identification: Major, Minor and Diminished Triads

___Harmony 2F Triad Factors in the Soprano and Bass

___Rhythm 2A Rhythmic Dictation: Duple and Triple Subdivisions of the Beat

TRANSCRIPTION 2 – Due Nov. 12

Weeks 13-15 Unit 3 (Nov. 17 – Dec. 10)

___Melody 3A Melodic Dictation: Melodies Using m2, M2, m3, M3, P4, P5

___Melody 3B Error Detection: Scalewise Melodies with Errors

___Melody 3C Scale Degree Identification: Three Notes

___Melody 3D Interval Review: m2, M2, m3, M3, P4, P5

___Melody 3E Models and Embellishments: Simple Melodic Structures

___Harmony 3A Chord Function Identification: ii, V Triads, and I

___Harmony 3B Chords in Music Literature: ii, V Triads, and I

___Harmony 3C Cadence Identification: Cadence Types

___Harmony 3D Harmonic Dictation: I(i), IV(iv), and V Triads in Four-Part Phrases

___Harmony 3E Chord Quality Identification: Writing Major, Minor, Diminished, and Augmented Triads

___Rhythm 3A Rhythmic Dictation: Rhythmic Figures Including Half-Beat Values

___Rhythm 3B Error Detection: Dotted Rhythm Values

TRANSCRIPTION 3 – Due Dec. 10

FINAL EXAM

Required Textbook

Benward and Kolosick. Ear Training a Technique for Listening, Rev.7th ed. McGraw-Hill, 2005.

Sight-singing resources will also include examples from CCU hymnals, handouts and materials from the CCU library.

Other Resources

Causey, C. Harry. If Only I Could Read Music. Rockville, MD: Music

Revelation, 1991.

Telfer, Nancy. Successful Sight-Singing: A Creative, Step by Step Approach. Kjos, 1992.

Yasui, Byron K. and Allen R. Trubitt. Basic Sight Singing. Mountain View, CA: Mayfield Publishing Company, 1989.