Textbook

Foundations of Music - A Computer-Assisted Introduction (with CD-ROM), 5th Edition

By Robert Nelson - Moores School of Music, University of Houston and

Carl J. Christensen - Hartnell College

ISBN: 0534600034   Publisher: Wadsworth http://www.wadsworth.com/

This course provides training in the fundamentals of music, primarily for the non-music major.  The course of study includes a thorough acquaintance with scales, intervals, keys and triads, as well as development in ability to sight read simple melodic material and take simple melodic dictation.

PROGRAM DESCRIPTIONS

1) Introduction: Music Symbols
Who should take this course and why is answered in the introduction and then some of the important musical symbols needed for the course are introduced. We are on our way to finding out more about music.

2) Notation of Pitch
The grand staff and the system of clefs used to notate sound are introduced. Accidentals and their function are demonstrated as well as the ability to recognize adjacent notes on the piano keyboard. Recognition of note names on the grand staff is emphasized. These skills are the first steps in becoming a more proficient musician.

3) Semi-tones and Whole Tones
This lesson is about learning the ups and downs in music, that is, how the sharp, flat, and natural symbols are used to affect whether pitch ascends or descends. Writing chromatic semi-tones, diatonic semi-tones, and whole tones is demonstrated. This activity is like doing musical calisthenics to firmly establish in the mind the directional movement of pitch.

4) Major Scales
Writing a major scale in all the different keys is like learning the ABC's for a musician. You will learn to write a series of eight notes on any given note that conforms to a pattern that remains the same for all major scales. It is easy and fun to do. It is important to be able to write major scales quickly and neatly in good manuscript.

5) Key Signatures
Each of the notes of the scale has a name, and each tone has a natural tendency or personality, which will be discussed in this lesson. Each of the scales may be placed in an order called the circle of fifths which will help organize the scale patterns in your mind. The accidentals of the scale are collected on the clef in a particular order which is called a key signature. We will learn how to put the accidentals of the key signature on the staff in the correct order. Things are beginning to clear up now. Scales writing is not difficult, if you look at the whole picture which is demonstrated in the circle of fifths.

6) Circle of Fifths - Major
The circle of fifths is presented in graphic form. Some of the scales are enharmonic, which means they sound the same, but are written differently. A few tips are given on how to find the key by looking at the signature. We begin to look at some examples of actual music and see how the key signature looks in real music.

7) Minor Scales
We will now learn to write the three forms of each minor scale. Minor scales are a little more complicated than major scales, so be diligent in seeking to understand the difference in the three forms.

8) Circle of Fifths - Minor
Just like the major scales, the minor scales are organized into a circle of fifths. Being able to recognize the key signature and write signatures for minor scales is the work in this lesson. Soon you will have all the network of major and minor scales organized in your mind. Doing so is major step (pardon the pun) in becoming a musician.

9) Intervals
A musical interval is the relationship between two tones. In lessons 2 and 3, we learned about CST's, DST's and WT's, which will now be called major and minor seconds, and we will add to them the entire spectrum of interval relationships, including all twelve tones within the octave in this lesson. Learning how to identify and write all intervals is the subject at hand.

10) Inversion of Intervals, part 1
Intervals may be turned over, or inverted, and we will find that after it is inverted, it retains its relationship to the original. In this lesson, after a review of how to write intervals we will learn a quicker way of thinking about intervals through their inversions, without having to count semi-tones.

11) Inversion of Intervals, part 2
This lesson is a continuation of interval writing, explaining ways to think of the intervals more quickly, and how to write unusual intervals that are not on the semi-tone chart.

12) Relative and Parallel Keys
Keys in music are related to one another. In this lesson the difference between relative keys and parallel keys will be explained. You will gain speed in thinking and writing thirds and Perfect fifths. The ability to physically identify the Perfect fifth on the keyboard will be demonstrated.

13) Intervals, with Personality

Like the members of the major scale that have their own tendencies of motion, intervals also have their own "personality". Intervals may be either consonant or dissonant, and thus are either static or wanting to move, or resolve. The understanding of this "personality" of each interval is an important step in learning why music moves through time. More practice on the inversion of intervals is included.

14) Rhythmic Values

Rhythm is the horizontal aspect of music that generates motion in music. In this lesson we learn the simple division into time units called whole, half, quarter, eighth and sixteenth notes. After reviewing how to clearly write the note values in good, clear manuscript, simple rhythmic examples are demonstratd and counted out with the class. This lesson concludes by the introduction of dotted and tied notes.

15) Rhythm Dots and Ties

Continuing the study of dots and ties, we learn how to figure the subdivided value of dotted notes by finding a rhythmic common denominator. We then put rhythmic values into units called measures. Rhythmic examples are practiced by vocalizing the examples together, with particular attention given to the exact duration of notes.

16) Conducting Music

Dr. Steven Gray joins us at the piano for this lesson. We learn to conduct as he palys music in 2/4, 3/4, 4/4, and 6/8 meter. He plays brief examples of music by Bach, Brahms, Beethoven, and Chopin. Hand and arm movements are demonstrated. The student can imitate instructor Stanford since he is conducting left-handed - thus, hand movements of the students are the same on the other side of the camera.

17) Simple and Compound Meter

The most commonly used simple and compund meters are displayed on a chart, and much time is spent speaking simple exercises together. It is shown that a simple rhythmic example can be notated in more than one way. The upbeat in music is explained.

18) Rhythmic Syncopation

Syncopation is defined and illustrated as a very common musical device, then, simple syncopated musical examples are vocalized by the class. The metronome is introduced as a device to aid in practicing rhythms. The session ends with Stanford singing an old and very syncopated spiritual "Down by the Riverside".

19) Writing Triads
When three tones are played together they constitute a chord, which is called a triad. There are four kinds of triads and each kind is said to have a distinct quality. This lesson begins writing and understanding of how to write chords of different quality.

20) Inversion of Triads
A triad may be turned upside down, or inverted. In the process it retains the same quality. In this lesson you will learn how to move the notes of the triad to put it in what musicians call an inversion.

21) Triads in a Key - Major
Now that you know how to write triads in four different qualities, you will begin to find triads in a major key. In major only three qualities are found, major, minor, and diminished. The first step is to learn how to find the scale degree on which the triad is built. Being able to find scale degrees quickly is important because the triads will be built on one of seven different scale degrees.

22) Triads in a Key - Minor
After learning how to write Major triads in a particular key, we now learn how to write triads in minor keys. Because there are three forms of minor scales, it gets a little more complicated, but for simplicity we will write triad using the harmonic form only. By the time you have finished this lesson, you will understand how to find and write triads on both Major and Minor keys. After practice, these triads will come more quickly.

23) Four Note Triads

Writing a triad on the grand staff for four voices, soprano, alto, tenor and bass, requires four tones instead of three, thus one note of the triad will be doubled, giving us a "four note triad". We now have the information to begin part writing. We spend this lesson finding four pieces of information about each chord:  the root, the quality, the inversion, and the note doubled.

24) What Key Is This In?

We continue to analyze chords using a key signature to understand how one chord moves to another. The ability to look at a chord on the grand staff and be able to describe it in terms of quality and inversion is the object of this lesson.

25) Looking at Melody

We take a few minutes of this lesson to review finding key signatures. Andy, one of our students shows his method of organizing the circle of fifths for finding key signatures quickly. Then we begin looking at melodies, determining the key of different melodies. Learning how to develop a case for key recognition through clues in the music is explored. Rhythmic motives are found that bind the melody into a coherent expression.

26) Summary

To summarize, we look at and hear examples of music in which clues that establish the tonal center are apparent. Pianist Daniel Greenbush assists Dr. Stanford in the performance and discussion of aspects of the music fundamentals. The students see the musical score as it is performed. Two beautiful art songs by Johannes Brahms "Sonntag" and "Vergebliche Stndchen" are sung by baritone Stanford.

As you have discovered the study of music fundamentals consists of many details of the organization of notated music. A study and mastery of the details makes the art more keenly heard and appreciated. Best wishes as you continue to unfold the inner workings of music. The journey is a pleasant one.