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At Kaufman Center
Theory Department
Curriculum
Music Director:
Jennifer Undercofler
Theory Faculty:
Eric Barnhill
Cynthia Lilley
Anne Farber
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Eric received an M.Mus in Piano Performance from the Juilliard School, a Dalcroze License
from the Longy School of Music, a BA from Haverford College, and is a graduate of a Feldenkrais Professional Training Program.
Anne Farber
Anne Farber holds the Dalcroze License from the New York Dalcroze School and the PostGraduate Diploma from the Dalcroze Institute in Geneva, Switzerland.
She has taught the Dalcroze work in many schools in New York City: The Manhattan
School of Music, The Mannes College of Music, The Diller-Quaile School. Currently she
teaches at Lucy Moses School, The Dalcroze School at Lucy Moses and the Special Music
School. Every summer she teaches at the Longy School of Music in Cambridge, MA, in the
Summer Dalcroze Program.
She has given Dalcroze workshops and seminars - some with a particular focus on improvisation, in which she has a special interest - throughout the United States, Canada, Europe
and Japan. She has given two-piano improvisation recitals with colleagues Lisa Parker and
Joy Kane.
In New York City she maintains a private piano studio where she teachers students of all
ages.
Her articles on the Dalcroze work and improvisation have appeared in numerous journals.
Cynthia Lilley
Cynthia Lilley earned!Dalcroze certification and license at the!Longy School in Cambridge,
MA, and an Orff certificate from UCLA. She currently teaches at the Dalcroze School, the
Special Music School, and the Dalcroze Program at the Diller-Quaile School of Music in
New York City. She has been a presenter at many Dalcroze and Orff workshops, including
the National Orff Conference and National Dalcroze Conferences. Cynthia has
taught!courses in the Dalcroze approach for music teachers!at Southern Methodist University in Dallas, TX, the University of St. Thomas in St. Paul, MN, the Longy School in
Cambridge, MA, and the Dalcroze School and Hunter College in New York City, NY.
Throughout the program, each grade is kept together for theory classes; the students are not
separated by instrument, length of time in the school, or performance on theory tests and
evaluations. With the only criterion for admission to the Special Music School being musical
talent, this creates a classroom of students with a large variety of learning styles, capacities
and interests.
At the Special Music School, we believe that playing music without an understanding of
music theory is akin to speaking the lines of a play without understanding their meaning.
We believe that all of our students possess the ability, through music theory study, to deepen
their skills as performing musicians and their creativity as composers.
Table of Contents
About The Program
Curriculum At-A-Glance
Curriculum Blueprint
Kindergarten
Grade 1
Grade 2
10
Grade 3
13
Grade 4
16
Grade 5
19
Grade 6
22
Grade 7
25
Grade 8
28
Sample Assignments
31
Grade 1
31
Grade 2
44
Grade 3
54
Grade 4
63
Grade 5
80
Grade 6
95
Grade 7
107
Grade 8
125
Appendices
137
138
143
144
145
Curriculum At-A-Glance
Grade K: Introduction to the language of music through eurhythmics: movement, improvisation, solfge
Sample Activities: Students improvise rhythmic patterns using rhythm syllables and
represent them in movement; students sing folks songs using words, scale numbers, and solfge
Grade 1: Treble/bass clef; connecting written notes to scale tones and fixed do solfge
syllables
Sample Activities: Students sing diatonic tonal patterns, scales, and songs, identifying the notes using scale numbers, solfge syllables, and letters.
Sample Assessment: Students are asked to write and identify treble and bass clef
notes and to sight sing simple melodies.
Grade 2: Keys of C, F, and G; whole and half steps; simple and compound meter; generic intervals that include the tonic (without indicating Major, minor, etc.)
Sample Assessment: Students are asked to write and identify the key signatures of
C, F, and G Major, and to construct whole and half step patterns in treble and
bass clefs.
Grade 3: Composition of question and answer phrases; I, IV, V triads; keys up to four
sharps and flats; perfect and major intervals that include the tonic
Sample Activity: Students identify I, IV, and V harmonies by ear and write these
triads in root position.
Sample Assessment: Students are also asked to sing, notate, and aurally identify selected intervals and triads.
Grade 4: Completing the circle of fifths; Counting through syncopated and tied rhythms
Sample Activity: Students map scales onto keyboard pictures in all keys. They
sight-sing stepwise melodies in a variety of key signatures and rhythms.
Sample Assessment: Students are asked to construct the circle of fifths by memory,
within a specified time limit, and perform syncopated rhythms while conducting.
Sample Activity: Students harmonize simple folk melodies and arrange them for
chamber ensemble. They sing melodies by Dalcroze that emphasize specific intervals.
Sample Assessment: Students are asked to identify triads and their harmonic function in a key. Students are asked to sing intervals, separately and in melodies, and
identify possible harmonic contexts for those intervals.
Sample Activity: Students reduce Schubert songs into four-part chorales and
compose melodies and bass lines that elaborate specific harmonic progressions.
Sample Assessment: Students are asked to write simple progressions in strict fourpart style, and to analyze four-part writing using Roman numerals and figured
bass.
Sample Activity: Students write modal compositions and examine the function of
accidentals found in their instrumental repertoire.
Sample Assessment: Students take the Advanced Placement Test in Music Theory,
or an equivalent exam.
Curriculum
Blueprint
Kindergarten
Term
1
Concepts
Rhythm:
Students represent rhythm in movement by skipping, swinging,
clapping, gesturing, etc., alone, with partner, in a group
Introduce rhythm syllables for simple meter and compound
meter
Students sing, chant, and speak rhythmic patterns
Students improvise and copy rhythmic patterns on the
xylophone or piano
Students clap the rests in a song (complementary rhythm)
Play song using the right rhythm, but the wrong notes; students
identify the song (mystery song)
Introduce basic conducting patterns (2, 3, and 4)
Students conduct while singing
Play song, students identify meter, then conduct beat pattern
Pitch/tonal concepts:
!Scale numbers
Solfege syllables
!Letter names
Sound of the major scale
Sound of the minor scale
Major and minor distinction
!Melodic shape
Melodic cadence
!Tonic
Tonal patterns
Generic intervals
Musicianship concepts:
!Feeling of tonic and dominant
!Ostinato
Canon
Repetition and contrast
Dynamics
Tempo
!Articulation
Repertory Referenced: Popular and folk songs, for example: Old Mac Donald, Pop Goes The Weasel, Stirring My Brew, Who Stole My Chickens,
Douglas Mountain, Little Gnome; and Anne Farber/Dalcroze traditional songs, for example: Circle Song, Witch of the Woods, Winter Is
Coming, In The Park, Happy New Year
Grade 1
Week
1
Term One
Pitch & Scale Unit 1.
Letters, numbers, syllables
3
4
5
6
7
8
9
10
Repertory Referenced: Grieg Hall of the Mountain King; Haydn Surprise Symphony; folk songs Bring The Wheat, Masters In This Hall, Are
You Sleeping
Grade 1
Week
1
Term Two
Pitch & Scale Unit 2. Melodic
patterns on the pentachord
(contd)
2
3
4
5
8
9
6
7
10
Repertory Referenced: Tchaikovsky excerpts from Nutcracker; folk songs Jingle Bells, Friendly Beasts, Riggedy Jig
Grade 1
Week
1
Term Three
Pitch & Scale Unit 3b.
Experiential work with relative
natural & harmonic minor
6
Rhythm Unit 5. Experiential work with phrasing
and sectional form
9
10
Repertory Referenced: Folk songs incl. Raisins and Almonds (harmonic minor), Wheel of Fortune (relative minor), Jack Boy (relative minor)
Grade 2
Week
1
Term One
Review of Clef Units 1,2,3
3
Rhythm Unit 7. Simple time secondary subdivision (16th notes)
rhythms
5
6
7
8
9
10
Sing songs that change from 2/4 to 6/8: (ex. Here we come a
Wassailing, Riggedy Jig)
Students perform movements that demonstrate meter and
metric change in 2/4 and 6/8 (e.g. changing from jogging to
skipping)
Assign for homework: adding key signatures in songs that
change from 2/4 to 6/8
Repertory Referenced:, Ravel Mother Goose Suite; folk songs incl. Jamaica Farewell, Stirring My Brew, Fly Fly Fly
Grade 2
Week
1
Term Two
Pitch & Scale Unit 5. The Chromatic Scale
4
5
6
7
8
9
10
Repertory Referenced: Saint-Sans Danse Macabre; Mozart Nachtigallen-kanon; folk songs Over The River, Deck The Halls, We Shall Overcome
Grade 2
Week
1
Term Three
Pitch & Scale Unit 7. Generic intervals (taken from the Major
scale, tonic on the bottom)
4
5
10
Repertory Referenced: Mahler Symphony no. 1, second movement; folk songs Risolty Risolty, Lord Of The Dance
Grade 3
Week
1
2
Term One
Review of Pitch & Scale Unit 6. C, F, G Major scales and key
signatures
3
4
5
6
7
Form and Structure Unit 1: Questions and Answers
10
Repertory Referenced: Folk songs including We Gather Together, Merrily Merrily, Here we come a-wassailing, as well as review of previous folk
songs in new contexts
Grade 3
Week
Term Two
Review of Pitch & Scale Unit 3a. Parallel minor.
1
2
3
Introduce three forms of minor scale. Natural and harmonic scale have
been introduced previously.
Ask students to sing a melody and change it from one form of minor to
another.
Ask students to write out the three forms of the minor scale in c minor, f
minor, and g minor
Discuss how to recognize the different forms of the scale in c minor, f
minor, and g minor
Ask students to compose and perform rhythmicized scales in the three
forms of minor
Pitch & Scale Unit 11. The Three Forms of Minor: Natural, Melodic,
Harmonic
8
9
10
Repertory Referenced: Holst A Dream of Christmas; folk songs Twelve Days of Christmas, Joan Glover
Grade 3
Week
1
Term Three
Pitch & Scale Unit 10. Scales up to four sharps and flats: key signatures
and key relationship
7
8
9
4
5
10
Repertory Referenced: Copland Appalachian Spring; folk songs Wheel of Fortune, The Minstrel Boy
Grade 4
Week
1
2
3
Term One
Pitch & Scale Unit 8. Whole and half steps (seconds)
Introduce concept of piano mapping: drawing the notes in a scale or
polychord on a keyboard picture
Give students a tonic, then ask them to sing and identify patterns of
seconds using scale numbers
Ask students to identify by ear, piano map, sing with solfge, and
notate different seconds
Examine half- and whole-step patterns in pieces by Chopin and
Schubert and sing solfge adaptations of those pieces
Students improvise patterns using whole steps and half steps
Ask pairs of students to sing harmonic Major and minor seconds
Ask students to identify harmonic Major and minor seconds by ear
Give aural and written quiz
4
5
6
7
8
9
10
Repertory Referenced: Chopin Prelude in G Sharp Minor, Schubert Auf Dem Wasser Zu Singen, Prokofiev Tarantella, Kabalevsky Masks,
Bach Invention in C major, Schumann Hasche-Mann, Debussy La Cathdrale Engloutie
Grade 4
Week
Term Two
Pitch & Scale Unit 10. Tetrachords and Fourths, contd
1
2
Ask students to sing perfect and augmented fourths using scale numbers
Ask students to identify by ear, piano map, sing with solfge, and
notate different kinds of fourths
Ask students to improvise phrases using the interval of the perfect
fourth to imply a cadence
Assign solfge melodies that emphasize melodic fourths by Dalcroze for
analysis and performance
Ask pairs of students to sing harmonic fourths (perfect and augmented)
Give written and aural quiz
4
5
6
7
8
9
Pitch & Scale Unit 11. Pentachords, Pentachord Modes, and Fifths
10
Repertory Referenced: Bartk, from Mikrokosmos: Dotted Notes, Parallel Motion, Lydian, In Oriental Style, Puccini O Mio
Babbino Caro, Schumann Sicilenne from Album For The Young, Mozart Piano Sonata in A K.331
Grade 4
Week
Term Three
Pitch & Scale Unit 12. The Circle of Fifths
1
2
3
4
Ask students to piano map and notate full major scale tonal patterns
Familiarize students with the circle of fifths: ask them to solfge (speak)
the names of the keys around the circle clockwise and counterclockwise, both timed (with a metronome) and untimed (without)
Explain to students how to use the circle of fifths to construct key
signatures for sharp-note and flat-note keys, and how to use it to find
the new sharp/flat in a key signature
Introduce concept of enharmonic keys and expand circle of fifths
writing assignments to include enharmonic keys
Ask students to piano map and notate natural minor scales
Review concept of relative Major and minor by asking students to find
shared key signatures
Ask students to construct the circle of fifths within a given time limit
Give written exam on the circle of fifths
5
6
7
8
9
10
Repertory Referenced: Mozart Piano Sonata K. 545, movement 2, Bach Invention in E Minor, Organ Prelude Wachet Auf
Grade 5
Week
1
2
Term One
Pitch & Scale Unit 13. Review of scales/key sigs/circle of 5ths by
studying scales Do to Do (fixed-do solfge; equivalent to C-to-C)
5
6
Give students a trichord (three stepwise notes) and ask them to identify
multiple scales that contain it
Give student a trichord, and ask him/her to compose a period that
contextualizes it in one of its possible keys
Give a student/group of students a trichord, ask them to improvise a
period that resolves it in one of its possible keys
Ask students to re-route well-known melodies beginning with
trichords (re-interpreting the opening trichord to imply a different scale).
Give aural quiz
Review 16th notes, ties and dots, in simple time (see Rhythm 11)
Play games with beats containing six subdivisions (six-count beats)
that involve only counting the subdivision in numbers
Explain how the subdivisions could be sixteenth note divisions of a
compound dotted quarter, and how it would be notated
Ask students to identify incorrect compound meter, secondary
subdivision rhythms and what is wrong with them
Give written quiz on turning notated rhythms into counts (1-2-3-4-5-6)
and counts (1-2-3-4-5-6) into notated rhythms
Students create their own rhythmic language using a six-syllable phrase,
and apply it to common compound meter, secondary subdivision
patterns
Ask students to perform rhythms from repertory, using students own
language and counts (1-2-3-4-5-6), incl. Bach and Beethoven
Ask students to sight-read rhythms in compound time using sixteenth
notes
Give students rhythmic dictation in compound time using sixteenth
notes
Aural and written test: ask students to translate given rhythms into
counts (1-2-3-4-5-6), to perform a rhythm on short preparation, and to
sight-read a rhythm
8
9
10
Repertory Referenced: Bach Fughetta in D minor, Beethoven String Quartet op. 59 no. 1 Razumovsky, second movement, Piano Sonata op. 81a,
Schumann Kreisleriana, M. Wilson Till There Was You
Grade 5
Week
Term Two
Harmony Unit 4. Triads in the scale, contd
Ask students to identify the notes in all root position triads in a given
key and label them using Roman numerals
Human scale game: form groups of 8 students and give each of them a
scale number, 1-8, then call triad Roman numerals out, with each
student singing if their scale tone participates in the triad.
Give students a triad, ask them identify to what keys it belongs
Give written quiz
Introduce concept of triads as two stacked thirds, with the quality of the
thirds creating M, m, d or A triads
Ask groups of 3 students to sing triads of different qualities
Play a minor or major third (or a fifth) and ask students to make a
particular triad out of it by singing the missing note
Play improvised melody, on cadences ask students to improvise triad
notes they think go with it
Ask students to compose melodies and add triads of their choice at the
cadences, and identify the qualities
Give aural and written quiz
9
10
Ask students walk slow beats and clap requested tuplets, or clap large
beats and step requested tuplets
Ask students to notate tuplets by writing arabic numbers above quarter
notes. Ask students to perform rhythms written this way. Ask students
to take dictation using this notation
Students representing different tuplets interact simultaneously
through voice and movement
Stuents perform, with conducting, the Evry Butterfly tuplet-rhythm
poem (see appendix)
Students compose a melodic setting of Evry Butterfly and perform it
Give aural quiz
7
8
Repertory Referenced: Debussy Soire dans Grenade, Colman Five, Ravel Vocalise, Folk songs for harmonization: You Are My Sunshine, This
Land Is Your Land
Grade 5
Week
Term Three
Harmony Unit 6. Intro to Cadences and Triad Flow, contd
Rhythm Unit 18. Tertiary subdivision (32nd) and higher, simple and
compound meters
5
6
7
8
9
Play quick reaction games where students read rhythms off the board
that contain small subdivisions
Examine second movement of Beethoven Violin Sonata op. 24 Spring
for use of small subdivisions
Examine Bach Goldberg Variation XIII for use of small subdivisions
Ask students to sight-read rhythms using small subdivisions
Give rhythmic dictation using small subdivisions
Give quiz (rhythm dictation and performance)
10
Repertory Referenced: Mozart Menuet in D Major K. 355, March Funbre K. 453a, Ravel Une Barque Sur LOcan, Strauss Salome (piano
reduction), Beethoven Violin Sonata op. 24, Bach Goldberg Variation XIII
Grade 6
Week
1
Term One
Pitch and Scale Unit 16. Function Identification of Tritones and other
Augmented/Diminished Intervals
5
6
Rhythm Unit 20. Beaming and Barring the same rhythm in varied
meters
10
Repertory Referenced: Schumann Chorale from Album for the Young, Schubert Das Wandern, Heidenrslein, An Die Musik, Mendelssohn
Violin Concerto, Mozart String Quartet in G Minor K. 516, Bartk Roumanian Dances
Grade 6
Week
Term Two
Harmony Unit 8. Rendering three-part triads in four voices contd
1
2
3
Harmony Unit 8. Four Part Harmony 2: Seventh chords in four voices
5
6
9
10
Review simple folk tunes that were harmonized in fifth grade (This Land
is Your Land, etc.) (see Harmony Unit 7)
Familiarize students with a common harmonic motion: top three voices
move stepwise, bass moves freely. Ask students to sing in groups of four,
as well as compose, examples of this type of harmonic motion.
Play four part singing games: give four students a starting chord, and
ask another student todirect the notes stepwise, up or down, until the
group arrives on another chord; ask the class to identify function and
inversion of the new chord
Repertory Referenced: Bach French Suite in E Flat, Satie Gymnopdie no. 1, Autumn Leaves, Somewhere Over the Rainbow
Grade 6
Week
1
2
Term Three
Harmony Unit 9. Four Part Harmony 3: Harmonic Motion, contd
3
4
5
6
7
9
10
Repertory Referenced: Bach Minuet in G Major, Minuet in G minor, Chopin Prelude in C minor, Schubert Nacht Und Trame, Symphony
no. 5
Grade 7
Week
Term One
Pitch and Scale Unit 17. Modes and modal repertory
1
2
7
8
9
10
Repertory Referenced: Kodaly Poplar Leaves Are Falling, Beatles Eleanor Rigby, Paperback Writer, Bartk The Horseman, Mixolydian,
With Alternate Hands, Obradors Canciones Clasicas Espanolas, Mussorgsky Im Winkel, Faur Lydia, Beethoven String Quartet op. 132,
Traditional French round Orlans, Beaugency, Traditional English I Will Give My Love An Apple, Gurdjieff-De Hartmann Greek Round
Dance
Grade 7
Week
1
Term Two
Pitch and Scale Unit 18. Species counterpoint and non-harmonic tones
2
3
4
5
6
8
9
10
Grade 7
Week
Term Three
Rhythm Unit 26. Two part rhythms with tuplets (triplets, quintuplets,
septuplets)
3
4
5
6
7
8
9
10
Repertory Referenced: Mozart Piano Sonatas K. 331, K 457, and K. 545; Bach Goldberg Variation XIII, Tchaikovsky Winter Morning
borrowed Phrygian), The Little Horseman (borrowed harmonic minor), March of the Wooden Soldiers (borrowed min. in B sec.), Rachmaninoff
Prelude op. 23 no. 5 (middle section - ambiguous dominant/borrowed min), Schubert Morgengruss, Bach Prelude and Fugue WTC I
Grade 8
Week
1
2
Term One
Pitch and Scale Unit 19. Sequences
Introduce the tonal sequence: ask students to improvise, and compose,
tonal (diatonic) sequences.
Ask students to identify tonal sequences in works by Bach, Mozart.
Introduce the real sequence: same activities as above
Analyze an absolute sequence in Mozart K. 491.
Introduce the modulating sequence: same activities as above.
Analyze a modulating sequence in Bach English Suite in E min.
Give written quiz.
6
7
2 against 3
3 against 4
3 against 5
4
5
8
9
10
Repertory Referenced: Mozart Piano Sonata K. 545, Bach Invention in C major, Mozart Piano Concerto K. 591, Bach English Suite in E
minor, Mozart Violin Sonata in E minor, Schubert Kennst Du Das Land, Schumann Wenn Ich in Deinen Augen, Wolf Ein Stndlein wohl
vor Tag, Brahms Cello Sonata in E Minor, Ravel Vocalise, Chopin Nocturne in D Flat op. 27/2
Grade 8
Week
1
2
Term Two
Form and Structure Unit 2. Review and systematic study of Periods,
contd
Analyze periods found in music literature.
Give students a melodic stem, ask them to complete the period
Students compose complete periods of different types
Give quiz on period composition and analysis
3
Form and Structure Unit 3. Binary and Ternary Forms
6
Form and Structure Unit 4. Rondo form and Rondo composition project
7
8
9
10
Repertory Referenced: Bach Minuet in G, Musette; Mozart from London Notebook: Minuet in F, Andante in C major, Allegro in G, Allegro
in C, Schumann from Album for the Young: Soldiers March, The Wild Rider, After The Theater, The Happy Farmer.
Grade 8
Week
1
Term Three
Form and Structure Unit 5. Rondo form and Rondo composition
project
2
3
4
5
6
8
9
10
Repertory Referenced: Mozart Symphony in G minor K. 183, Bach Fugue in C minor, WTC I; Fugue in C minor, WTC II
Sample Assignments
Grade 1
4 quarter notes
! "
"
2 half notes
! #
"
"
1 whole note
! """"""""
4 quarter notes
2 half notes
1 whole note
!
!
Kodaly 22
Above the notes, write "B" for Beat, "2-8" for 2-8, and "R" for rest.
Below the notes, write "Re" for Re, "Mi" for Mi and "Sol" for Sol.
We will perform this together in class next Wednesday.
Name
QUIZ, 1ST GRADE, FEB. 6
1. Write the letter names and syllables under each note.
"
! " "
"
"
"
"
"
! " "
"
"
2. Write the notes above each letter. If the same letter appears
twice in a row, write a different note for each.
!
g
!
Fa
Fa Re Re
La Do Do Si Mi
Mi Sol
!
#"
%!
"
Surprise Symphony
2nd Movement
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13
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2.
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Surprise Symphony
2nd Movement
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Now, you create an ascending scale piece, choosing the same 3 count patterns.
Be sure to end with a dotted half note!
low c
middle c
#
g
2
Try writing another version, this time make it a descending scale,which
goes down.
Again each measure should have 1 half note plus a quarter note
or one dotted half note.
middle c
!
f
low c
Name..........................
Quiz, April 10
1. Write the letter names and syllables under each note.
"
"
! " " "
"
" "
"
2. Write the notes above each letter. If the same letter appears
twice in a row, write a different note for each.
g c
Si
Si
Re Fa Do Do Mi Sol Sol
La La
4. Write 7 notes on the staff. Then write the letter names and
syllable names beneath each one.
!
%
#"
$ $ $ $ $
%
$
$
$ $ $
!
"
# $ % $ $ % $ % $ $ &'
Now, you create a scale piece, using quarter notes and quarter rests.
But be sure to end with a dotted half note!
!
#"
middle c
(
g
high c
!
"
2
Try writing another version, this time in the bass clef.
low c
d
e
#! $ $ %
"
#
g
middle c
Sample Assignments
Grade 2
2ndGradeTheoryHomework,DueDec' 5
. Write the rhlthms for
ooo-ma-chic-ka
boo-chic-ka
boo-ma-chic
boo-ka
2. Singthescalepiece,beloq in rhythmwords
3. Wrie thesamepiecein thebassclef onthegrandstaff' Be very careful
aboutyourbeamsanddots!
=-T-
w-
tttl
tz: E
-
il;"i"
and
theLalfstepslurs' (Theyarealwaysbetween3&4
the staff'
Write in the key signature for G at the beginningof
slurs'
ftr"n *tite in-the ascendingG scale andthe half step
sta'ff'
Write in thekey signaturefor G at thebeginningof the
stepslurs.
ihen write in-ttreiamedescendingG scaleandthe half
2ndGradeHomewo*,DueFriday,Jan.23
1. Workbook:Pages35,36,utd37
2. Singthisscalepiecein G-Major,usingrhytbmwords.
Remember
thatthetripletsaresungas"tri-o-lay!"
4. Write anotherscalepiecein G,
Now, now,now. I
r f &r
t ?tt
c-ffty Nack-e
r_-c_r
&r
E_r-r
- ty, Re- tre-qua-qua- li - ty,
Wil - low - by
tf
Wal - low - by
Teston Intervals,March 13
name
1. r'
L'
^/-
\'/
--.,
3. 1
"t
4.
5. ^)
6'?
7' L'
8.j
r.
2.
3. t
4. ("
5. I
6. t
i. I
8. a
Write 2 diferent intervalsof an 8ve Write 2 different intervalsof a 4th
Wite2 differentintervalsof a
unison
l]
goodfairies
Nametheintervalsfor eachcharacter:Princess......,
King...........,
baby..........,
Prince...........
Queen........,
badfairy..............,
oldwomanatthespinning
wheel.............
Write the nameof eachinterval.
dancedin the mom- ing whea the world was be-gun, And 1 danced in the moorlandthe
I danced in the eve'{ing md I dancdin the dawn, And - with my mu- sic the
be,
And I'll
lesd
you
in
For
the
am the Lord of th
dance," said
andTriads,
Pentachords
for "LordoftheDance"
a descant
creating
ta chord on 5,
Root,Third, Fifth,
Pen- ta-chord on 1,
Root, Thtud,Fifth,
2nd GradeTest,Jrme1
l. Answer: Whatis the key signaturefor C-Major?
for F-Major?
for G-Major
2. Forthekey of C, writetheletterthatis thefust degreeof thescale...........
4th degree
ofthescale.........
5thdegree
of thescale............
3. Write the I, IV, andV triadsin the key of C - remember,tlrebottomnotewiil bethe lst, 4th
and5th depreeof the scale.Write theseon boththe bassandhebleclef!
a
rW V
4. Foi thekev ofF. write the letterthat is the first deereeof the scale
4th degreeofthe scale......--.
5th desreeof thescale............
a)
w
7. For the key of G, write the letter that is the first degreeofthe scale
4th degreeof the scale.........
5th degreeof the scale..--....-...
8. Write tbe key signatureon both clefsfor rhe key of G
9. Write the I, IV, andV triads in the key of G on both clefs
a)
T\/
*-_i=-
o+
+F
11. Identifu eachtriad asa I, IV or V chordin the key of F
e)
+
Q
+t----
a)
<!,
Sample Assignments
Grade 3
3rd GradeTest:GrandStaff,Sept.29
1. Write the correctnoteson the grandstaffsbelow (if the noteis
repeated,choosetwo differentlocationson the staff!)
Bass: B
FF
Treb:DD G
Bb
Fh
F EE
Db
note'
3. Write the letterand sytlublenamesundereach
Dansemacabrethemes
Saint-Sadns,
adaptedby CynthiaLilley
Witches' Theme
es darco,The ter-ri-ble,ter-d-
witah -es
witch - es dance,The witch - esdance,The ter ri bl4er - ri- ble,
fnish!
4. Sins the "skeletons'Themewith the rhytbmwords' I've got you statted You
-my
-my
nmj im-myjim-mYrun
fltr,
-my
jim - m Y
jim - m Y
jim - m Y
Teston Intervals,Jan.30
name
Write 2 differentintervalsof a
unison
Dissonant...........',
Namethe intervalsthatare: Consonant...........,
Perfect..
-................
Write the name of eachinterval.
Homework.Due Feb. 13
Completethe patterns ofpentachords,broken triails, and triads.
lVrite in both the treble and bassclefs.
Nameeach triad asM4isl.-Etig!e-a@!$ed
pentachordon 1
o+ .
10 pentachordon 4
a)
root third,
fifth
triad
+
Major
root,
fiffh
triad
Dentachordon 5
)- ,,
tJ
triad
root, third,
.&-
o-*--,-
,_=:
Pentachordon 6
16
root,
fifth
triad
ict:
ta
pentachordon 7
(1
=-f-i-
5-l-:
22
\.r
t)
pentachord on I
root,
fifth
toiad
play,
a dis
7
t)}
,-
duy.
Where the
11
deer
play,
cou- rag- ing word, Artd the skies arc not cloud-y
IV
day.-
a dis-
March25
3rd GradeHomework,DueWednesday,
1. Be able to sing in Solfege syllables measures7 - 15 in your part, alto or soprano,ir
"ADream of Spring." Review measues 1-6, too! Try to have this memorized by Friday.
2. Here is "Twinkle, Trrinkle" in a variation h "The Land of the QuarterNote." la]Answer'
What is its Time Signatue?......... What is its Key Signature?........,
Whatkey is it in?.......
Sing
this
venion
with
rhltbm
words.
ftl
[c]Write the appropriatechords over the RomanNumerals.
IV
IV
ry
ry
3. Now write your own variationin F-Major. [a] Be sureto use the samenotes,just changethe
r$tlm. [b] Write the chordsin the bassclef. [c] Write the correct Roman numerals.
a)
a)
Sample Assignments
Grade 4
Starting on F. 1) Go down two whole steps 2) Go up two half steps 3) Go up two whole
steps 4) Go up two whole steps. What note are you on now?
!""#$%&'()*+,-./(%012342*(56
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"D2J+-B(L9:+J("JF00B
$*-,2(<(8F20*.
T22@(55
%!L&H(
"2>>+AI(-(OF.>F3(>0(>F2(P2A>->0A+J("J-B2
=-:>(?22@(.09(-A-B.C2,(-A,(D2*E0*32,(>F+:(*F.>F3(G(?-.:H(?+>F(*F.>F3(B-AI9-I2/(
?+>F(J09A>/(-A,(:>2DD+AI(-A,(J0A,9J>+AIK
%0?(J03D0:2(-(32B0,.(>0(I0(?+>F(>F+:(*F.>F3(4.(B-42B+AI(2-JF
A0>2(0A2(0E (>F2(A0>2:(0E (>F2(L!MNO(P&%8!8N%#Q(:J-B2(R('0/(O2/(L+/("0B/(0*(=-K
S09(?+BB(:+AI(.09*(32B0,.(+A(JB-::K
!$&:"2%'(/8":'!:,66%
@*29&'A'B,&6*CD(EFGGGGGGGGGGGGGGGGGG
!"#$%&'(&)&*'+,-),#'./"0
1*")&'),&'*,-),#'%234/24&'2567&'),&8&'*,-),#8'239'),&':6/3)'5&%6;<
=6/';"%%'5&'28>&9')6'$&*?6*#'63&'6? '),&8&<
Trichord Puzzles
Write three trichords on each piano, using these three letter words. Remember: Species
1: W+W / Species 2: W+H / Species 3: H+W
Puccini in 6/8
Below is part of a Puccini aria, "O mio babbino caro" from the opera Gianni Schicchi. Write the rhythm language underneath
each measure, leaving blank the ones you don't know. It is mostly "Beat", "Skip and", and "Running and" with a few stray
"ands". We will sing it together in class, and then listen to the very interesting ways that opera singers actually sing it!
Mozart in 6/8
Below is the first part of Mozart's Piano Sonata K. 331.
Remember our final addition to the compound meter rhythmic language: Am-sterdam!
Write the rhythmic language underneath the melody notes. Don't forget any stray ands.
We will solfege this melody in class, so if you will have difficulty with the solfege syllables,
write them in too. People who prefer to do some bass clef work can learn the bottom voice
instead, and we will sing in duo.
!"#$%&'&()%*"+
,-./0000000000000000000
>$;:$%"+#?5,45;#>5)**2"<2
!"#$%&#'(")*#+),#$' #-*)../#0&(+),#1%"2#3345/#.4%+2"4.#6(**#+$#46$#4).7.8
952,#6(**#:2&'$&;#45(.#&5,45;/#2(452(45#*)"<%)<2#$(45#-$%"48
952"#452,#6(**#.(<54#&2)+#)#&5,45;8
0$&#:&2:)&)4($"/#*2)&"#45(.#&5,45;#)"+#6&(42#("#=$45#452#*)"<%)<2#)"+#452#-$%"4
).#)#5$;26$&78
You may choose any of the pentachords you like, including the ordinary major
and minor, the fancier Lydian, Locrian and Phrygian, or the "Oriental Style" Bartok used for his piece.
When you pick your pentachord, choose a key for it to be in OTHER THAN C.
Write in letters the five notes of the pentachord please, so I know you are on
track.
Compose a melody using your simple time rhythms. I'm really hoping that some
of you will use the syncopated and tricky rhythms we studied in our simple time
unit.
Make sure you have a meter (time signature), and you use it correctly.
Because we're focusing on pentachords, try to keep your notes in scale tones 1-5,
though if you want to add a few other notes it's okay.
NAME:________________________________
Identify which pentachord would use these 5 piano keys and name them, making sure you
call it a "sharp" or "flat" correctly, so that you don't repeat or skip any letters:
X
! " "
#
"
! "
"! " $
Identify which pentachord this melody uses AND write out the 5 notes in it. (Do both!)
Pentachord test example
Boomachicka ___________________________
Boo chicka
____________________________
Booma
_____________________________
Booka
_____________________________
Write the rhythmic language that goes with each of these. If the rhythm is wrong, describe what is wrong with it:
Each piano picture goes with one scale. The scale name is above the piano picture. There are sharp scales so remember, no flats!.
For each scale, mark each note on the piano that is in the scale with an X, for
ONE OCTAVE only. Start on scale tone 1, which is the same note as the key
the scale is in. Mark IN the white keys for the white keys, and ABOVE the
keys for the black keys.
There are eight blanks labeled 1 through 8. Put scale steps 1,2,3,4,5,6,7 and 8
in the blanks.
1) E major
______
2) B major
______
1
3) F Sharp major
______
1
4) C Sharp major
______
1
+&,-(!.!/0(%&)
12(!/2(*-,)3!42$(!53!6757
8,9(!::::::::::::::::::::::::
!!!!!!!!"#$%&!'()*
;(<%=!#*!>0(!?#&?<(!%@!@#@>0*A!/0(&(!,&(!56!B%*#>#%$*!%$!#>3!<#C(!,!?<%?CA
D!9#$%&!#*!%$!>%B3!=#>0!E(&%!*0,&B*!%&!@<,>*A!F!9#$%&!#*!>%!>0(!&#G0>3!=#>0!%$(!*0,&BA!1!#*!>%!>0(!<(@>3!=#>0!%$(!@<,>A
+%!,&%2$-!>0(!?#&?<(3!$,9#$G!,<<!>0(!9#$%&!C()*A
H#&?<(!%@!I#@>0*
J$*#-(!>0(!	!%@!>0(!?#&?<(3!=&#>(!>0(!>%$#?!>%!9,>?0!(,?0!9,K%&!C()!*#G$,>2&(A
Sample Assignments
Grade 5
%@)&9'(#D5*9&#%&7""(
=3'A)#E#,7)"3?
FGDHIJJJJJJJJJJJJJJJJJJ
!"#$"#!"#%&'()*#+,"-'(#."-$)/$0#1
2)3)#'3)#4"53#.*6#)'&7#89$7#'#*&'()#-5:;)3<#=9>)-#$7)#$?@)#"4 #.#'-A#$7)#*&'()#-5:;)36
839$)#9-#$7)#!"#$"#!"#*&'()6#A":9-'-$#B$76#'-A#$"-9&<#2'>)#9$#@3)@'3)A#$"#*9-C#9-#&('**<
"
#
$
$
Ambiguous Trichords
In class we looked at how one trichord can be in multiple keys. We took a musical "idea" on
a trichord and followed it through to 3 different endings. For example, the trichord C-D-E
can be found in C major, F major, and G major:
For this assignment, use the trichord B flat - C - D . What are the three major keys you can
find this trichord in:
Key #1: ______________
Add rhythm to your trichord to create your "motive", then finish it in each of the three
keys, making sure your melody passes through 4 and 7:
!
!
!
!
!
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!"#$%&'!()*
"
"
#
"
"
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Sample Assignments
Grade 6
+,)-$".'/01$-'+-233.
4#"()'5'62)3#7
8))9':
;</=>??????????????????
!"##$%&'"%('!)"*$%&
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',&*4"&+"56"(*"0&/"*"+(&7"#$%8&(4$%',-&9+$9"+
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%4)*";"+&+"(*(&)+"&,"<"(()+=1
NAME:__________________
Theory 6
Tritone Test
Write a dominant seventh in these two keys. Use the clef provided.
"
B flat major
A major
%$
$
# $
Add one note to make each of these chords a dominant seventh. Use the clefs provided.
"
$
$$
Here are two tritones. Identify what major key they are in. Identify which is 7 and which is 4.
Add a dominant 5th. Resolve the chord to a 1,3,5 triad.
&$
! $
%$
$
Respell the accidental in each tritone and
do the same thing.
!
#"$
$!
$ %
#
Write this rhythm twice as slow, transforming the meter to 2x slow.
#
Now write this rhythm twice as fast, but in the same meter.
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Bass lines are often quite melodic, but still fulfill their harmonic functions. In the
Bach minuet below, write
what harmonies
you think are implied by the two-voice
Minuet
in
G
texture.
J. S. Bach
Moderato
Keyboard Classics
Sample Assignments
Grade 7
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On the next page is your source material for the cantus. It is a sample of authentic Gregorian chant, converted to modern notation. This is one way counterpoint
pieces were created, in Bach's time and earlier, and sometimes later (for example,
there is a cantus firmus setting in the finale of The Magic Flute: two guards sing
the cantus).
This is a melody from Gregorian chant in four phrases. First of all, three extra
credit points to anyone who can come in and sing this from memory. No solfege,
just the words as wrtten.
Choose one of these phrases to set with mixed species counterpoint. So,
only use the material between two double bars, or from the beginning to
the first double bar.
rhythmic values as written (yes this was a commonly used technique when
composers worked with a cantus firmus).
Once you've got your whole notes written on alto clef, write above them a
fifth species counterpoint with the usual constraints: at least TWO beats
each of each species, with no more than FOUR in first species. Additionally, use and identify: passing tone, suspension, double neighbor, legal
D3Q, dotted half, and end with a ficta cadence.
You will solfege this in class while I play the cantus on the piano. Or if
you prefer I can have loud boys sing the cantus.
bonus point is yours if you can figure out the origins of Friday the 13th
and explain how it connects to our current species counterpoint unit.
For each term listed below, write a one-sentence definition in your own words.
Please do not use someone else's words.
On the staff next to the term, write an example of the term in practice. If the
term only requires one clef, just use one. Adding relevant numbers or syllables to
your examples helps ensure you get partial credit in the event you make a mistake.
The 5th species terms have been marked as such, so don't worry if you don't
know them yet
Perfect Consonance
Imperfect Consonance
Dissonance
Tritone Leap
Parallel Motion
Direct Motion
Contrary Motion
Oblique Motion
Passing Tone
Lower Neighbor
Upper Neighbor
Double Neighbor
Escape Tone
Cambiata
Suspension
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NAME_______________________
Homework for Tuesday, 28 April
Below is the opening of Schumann's piece called Chopin, in imitation of Chopin, from
his suite Carnaval. Each bar has one main harmony; please write it under the bar, including the V of ii. On the blank lines below, write a melody that follows this solfge progression; be prepared to solfge this melody in class.
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Sample Assignments
Grade 8
NAME_______________________
Homework for Tuesday, Sept. 22
Below is part of Bach's Invention in D Minor. There's a sequence whose cell is two measures long, that starts in the second measure of this excerpt. (So, measures 2 & 3 are one
time through, measures 4&5 are the second). On the treble clefs, keep the sequence going until it returns to the beginning.
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NAME_______________________
Mozart K.491 Sequence
Below is an absolute sequence from a Mozart piano concerto. Write two more measures of
this sequence. What kinds of chords are arpeggiated here?
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Name:________________________
e: V/iv
C: V/vi
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Header
Header
Header
This Rondo should be for your major instrument and piano accompaniment if
you are not a pianist. If you want to write a rondo for multiple instruments/
students, you should be absolutely sure those students can play their parts, rehearse on their own time with you, bring their instruments etc. because the performance is a part of your grade and it will be on you. There will be no in class
rehearsal time and you cannot use students from other grades for school theory
projects.
You are particularly encouraged to write some virtuoso passagework for your
instrument like in the concerto finales we have listened to. Like composer/
performers of all times you need use only the virtuoso techniques that make you
sound best.
Your Rondo should be in the form ABACABA with optional introduction and
coda. Your different sections should follow typical key schemes we have studied.
You will write modulating transitions to go from section to section, and one of
those modulations should be by sequence.
Be efficient in writing it. If you are writing by hand, photocopy your themes so
you don't have to re-write and just write your transitions on separate pages.
Your grade will be based on four scores: competence (did the student understand
and follow the standard structures), coherence (does this sound like a bunch of
theory exercises pasted together, or is there an organic flow to it), creativity (what
did the student do that I didn't expect), and performance (can he or she play it).
Name:________________________
Marking Up Mozart 1
For this assignment you need three different colors of highlighters, pens or pencils.
Divide the exposition into three groups: first theme group, second theme group,
and closing theme group. It is okay if not everyone agrees, if their choices make
sense. Each group gets a different color highlighter.
Mark each theme in the theme group separately: "Theme 1a", "Theme 1b", and
so on. Again, everyone won't necessarily agree on how they break. If it repeats
exactly, write "Theme 1c repeat" etc.
Appendices
Subject: Rhythm
Grade 1
1. Experiential work with simple meter primary subdivision
2. Experiential work with compound meter primary subdivision
3. Introduction to meter
4. Rests in simple and compound meter
Grade 2
5. Simple time secondary subdivision (16th note) rhythms, basic patterns
6. Switching between 2/4 and 6/8
7. Compound time secondary subdivision rhythms, basic patterns
8. Conducting in duple, triple, quadruple meters
9. Crusis and anacrusis (downbeat and pickup)
10. Introduction to dot in simple meter
11. Triplets & duplets in simple meter
Grade 3
12. Determining metric properties of folk & classical repertory
13. Mixing primary & secondary subdivisions, simple & compound meter
Grade 4
14. Long notes across multiple measures
15. Rhythms in simple time, primary subdivision, ties & syncopations
16. Rhythms in compound time, primary subdivision, ties & syncopations
17. Simple time, secondary subdivision, ties & syncopations
18. Compound time, secondary subdivision, ties & syncopations
Grade 5
19. Experiential work with tuplets (triplets in simple meter, duplets and quadruplets in
compound meter, pentuplets, etc.)
20. Tuplets in sight-reading, dictation & analysis
21. Tertiary subdivision and higher, simple and compound meters
22. Alla breve rhythms
Grade 6
23. Beaming and barring the same rhythm in varied meters
24. Augmentation and diminution in duple and triple meter
25. Simple & compound rhythms, primary and secondary subdivision, ties and syncopations, in sight-singing and dictation (from Elementary Training for Musicians Chaps. 2
& 3)
26. Simple & compound rhythms, primary and secondary subdivision, ties and syncopations, in sight-singing and dictation (from Elementary Training for Musicians Chaps. 4
&5)
Grade 7
27. Two part rhythms, simple meter
28. Two part rhythms, compound meter
29. Two part rhythms with tuplets (triplets, duplets, etc.)
Grade 8
30. Introduction to polyrhythms
31. Contemporary rhythms
Vandendool, G. (2004). Keyboard Theory Preparatory Series. The Frederick Harris Music
Co., Limited.
Cole, S. W. and Lewis, L. R. (2004). Melodia: a comprehensive course in sight-singing.
Theodore Presser Music Co.
Ottman, R. and Rogers, N. (2010). Music for Sight Singing, 8th Ed.. Prentice Hall.
Jaques-Dalcroze, E. (1895). Excercises d'Intonation. Durand & Cie.
Hindemith, P. (1984). Elementary training for musicians. Schott Music Corp.
Schubert, P. (2007). Modal Counterpoint: Renaissance Style. Oxford University Press.
2
Special Music School
Theory Curriculum
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