Embedded Files
Objectives
Objectives
By the end of this lesson, students will be able to:
Demonstrate further proficiency sight-reading, improvising, and transcribing excerpts that incorporate chromatic harmony from Unit 3.
Demonstrate further proficiency sight-reading and aurally identifying rhythms that incorporate 2:3 and 3:4 polyrhythms in simple and compound time.
Aurally analyze an example of theme and variations from the repertoire using an audio annotation tool; diagram the form, identifying where the theme and each variations begins, noting any changes in key or phrase structure.
Describe how the composer varies the theme in each variation through the use of melodic features, rhythm, texture, timbre, style, etc.
Transcribe excerpts from a theme and variation example from the repertoire, using the theme as a guide to transcribe each variation.
Lesson Materials
Lesson Materials
Sight-Reading
Sight-Reading
Melodic Sight-Reading (Unit 3 Continued): Continue practice with chromatic harmony, embellishing tones, and modulation.
See the melody link to the Singing Anthology
Practice from Developing Musicianship Through Aural Skills: Augmented 6ths (pp. 357–362), Neapolitan 6ths (pp. 349–354), Mode Mixture (pp. 311–321)
Rhythm Sight Reading (4:3 Polyrhythms, cont.): Sight-read rhythms in the “Three Against Four” section of the anthology. See additional exercises and warmups below.
Warmup: Nos. 3–4 on the Rhythm Worksheet here (from Integrated Musicianship)
Exercises:
Developing Musicianship: Solos, duets, trios (pp. 451–455)
Rhythm: Advanced Studies: Triplets: pp. 27–28; 2-part exercises: pp. 133–135; Hemiola: p. 29; Duplets: p. 39; Quadruplets: pp. 39–40
Improvisation
Improvisation
Rhythmic Improvisation (Polyrhythms, cont.): Continued practice improvising with 2:3 and 4:3 polyrhythms. See Lesson 4-1 and 4-2 fo exercises.
Melodic Improvisation (Chromatic Harmony, cont.): Continued practice improvising with mode mixture, Neapolitan 6ths, and Augmented 6ths. See the improvisation exercises in Unit 3.
Aural ID & Dictation
Aural ID & Dictation
Large-Scale Listening (Theme & Variation): Use BriFormer to aurally annotate a set of theme and variations by ear without the use of a score. Mark where the theme and each variation begin. Discuss how the composer varies the theme in each variation through the use of melodic features, rhythm, texture, timbre, style, etc. Work together in groups, then compare your work with the class. Discuss any differences in analysis. Below are a few examples of theme & variations to explore. Recordings are readily available on YouTube.
YouTube Playlist of Variations by Women (curated by Music by Women)
Ludwig van Beethoven, Diabelli Variations, Op. 120 (1823)
Wolfgang Amadeus Mozart, 10 Variations on a Theme by Gluck, K. 455 (1784)
Clara Schumann, Variations on a Theme by Robert Schumann, Op. 20 (1853)
Brahms, Variations on a Theme by Haydn, Op. 56a, (1873)
Amy Beach, Variations on Balkan Themes, Op. 60 (1904)
Lili Boulanger, Theme and Variations for Piano (1914)
Florence Price, Variations on a Folksong (ca. 1930–1950)
Transcription: Sing through the theme from Beethoven's 6 Variations on a Swiss Song, then try transcribing a few of the variations, using the theme as a guide. A transcription set up is provided with the first measure of each variation to get you started.
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