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US Army Music Course - Traditional Harmony I PDF

267 Pages·1987·9.55 MB·English
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Preview US Army Music Course - Traditional Harmony I

EDITION A TRADITIONAL HARMONY I Primary Triads and the Dominant Seventh Chord Subcourse Number MU 3310 U.S. Army Element, School of Music Little Creek, NAB, Virginia 23521-5170 29 Credit Hours Edition Date: September 1987 SUBCOURSE INTRODUCTION This subcourse is designed to show how four-voice chords are constructed and connected in the traditional style. Contained within this subcourse is instruction on the basic skills of part writing primary triads and the dominant seventh chord. Part writing (or voice leading) is the connecting of the parts (voices) of one chord to the parts of another chord. For good part writing, each part should move smoothly, without error, and be easily singable. The ability to read music in bass and treble clef and the knowledge of scales, intervals, and triads are prerequisites to this subcourse. You can take subcourses MU 1300, Scales and Key Signatures, and MU 1305, Triads and Intervals to obtain the prerequisite knowledge to complete this subcourse. TERMINAL LEARNING OBJECTIVE ACTION: Connect four-part primary triads and the dominant seventh chord smoothly and without error in treble and bass clef from a given bass line. CONDITION: Given the information in this subcourse. STANDARD: Demonstrate competency by achieving a minimum of 70% on the subcourse examination. MU 3310 1 TABLE OF CONTENTS Section Subcourse Introduction Table of Contents Administrative Instructions Grading and Certification Instructions L esson 1: P reliminary Knowledge and Skills P art A P lacement of Voices P art B V oice Motion P art C F igured Bass and Analysis Practical Exercise Answer Key and Feedback L esson 2: P rimary Triads in Root Position P art A O verview P art B P art Writing Primary Triads (Major) P art C P art Writing Primary Triads (Minor) P art D R epeated Triads P art E C adences Practical Exercise Answer Key and Feedback MU 3310 2 L esson 3: P rimary Triads in First Inversion P art A O verview P art B P art Writing First Inversion Primary Triads P art C F irst Inversion Progressions P art D C adences Practical Exercise Answer Key and Feedback L esson 4: P rimary Triads in Second Inversion P art A O verview P art B T ypes of Second Inversion Triads Practical Exercise Answer Key and Feedback L esson 5: T he Dominant Seventh Chord P art A O verview P art B P art Writing the Dominant Seventh Chord to Tonic P art C P art Writing the Subdominant Triad to the Dominant Seventh Chord P art D M elodic Preparation of the Seventh of the Dominant Seventh Chord Practical Exercise Answer Key and Feedback Examination MU 3310 3 ADMINISTRATIVE INSTRUCTIONS 1. Number of lessons in this subcourse: Five 2. References: TC 12-41, Basic Music, and TC 12-42, Harmony. 3. Supervisory requirements: None. 4. Tasks supported by this subcourse: Soldier’s Manual Tasks 514.469.3001 Arrange Music for a Combo 514.469.3220 Score Music for the Marching Band 514-441-3501 Train the Section for Performance in a Marching/Ceremonial Setting 514-441-3702 Train the Section for Performance in a Non-Marching/Non-Ceremonial Setting 514.455.4501 Train the Ensemble for Performance in a Marching/Ceremonial Setting 514.455.4502 Train the Ensemble for Performance in a Non-Marching/Non-Ceremonial Setting 514.455.4723 Lead the Stage Band in Performance Warrant Officer Bandmaster Tasks 02-4407.00-0005Conduct the Concert Band in Performance 02-4407.00-0007 Rehearse the Concert Band 02-4407.00-0012 Prepare a Musical Score S2-4409.00-0001 Compose/Arrange/Transpose Marches and Organizational Songs S2-4409.00-0002 Compose/Arrange/Transpose Openers and Fanfares S2-4409.00-0008 Compose/Arrange/Transpose Ensemble music MU 3310 4 GRADING AND CERTIFICATION INSTRUCTIONS Examination: This subcourse contains a performance-based multiple-choice and true/false examination covering the material in the five lessons. Complete the examination after you study the lessons and work through the exercises. Point and click on the small circle to left of your choice for each question. NOTE: You may select only one choice for each question. We recommend you print out your completed examination before submitting. This will give you a record of your answers in case you need to resubmit due to problems with the electronic transmission. NOTE: Some older browsers may not support this function. To submit your exam for grading, point and click on SUBMIT. You will receive an interim examination score by electronic mail. You will receive 29 credit hours for successful completion of this examination. MU 3310 5 Lesson 1 PRELIMINARY KNOWLEDGE AND SKILLS INTRODUCTION LESSON DESCRIPTION: In this lesson, you will learn voicing, ranges, doubling, spacing, open and close positions, types of voice motion, objectionable voice motion, figured bass, and analysis. TERMINAL LEARNING OBJECTIVE: ACTION: After completing this lesson, you will: 1. Name and identify the ranges of the four voices. 2. Write voice doublings. 3. Write correct voice spacing in open and close position. 4. Identify voice motions. 5. Identify crossed voices, overlapping voices, parallel voices, and hidden voices. 6. Write figured bass and analysis. CONDITION:Given the information contained in this lesson. STANDARD: In accordance with (IAW) the information contained in this lesson. REFERENCES: The material contained in this lesson was derived from the following publications: TC 12-41, Basic Music, and TC 12-42, Harmony. MU 3310 1 PART A PLACEMENT OF VOICES 1. Voice Names. a. The four voices in traditional four-part writing are soprano, alto, tenor, and bass. These are often abbreviated as SATB. The soprano is the highest voice and is notated in the treble clef staff with its stems up. The alto is the second highest voice and is notated in the treble clef with its stems down. The tenor is the third highest voice and is notated in the bass clef with its stems up. The bass voice is the lowest voice and is notated in bass clef with its stems down (Figure 1-1). Figure 1-1. SATB Notation b. When the soprano and alto or tenor and bass are in unison (sounding the same pitch), the stems go up and down on the same note head (Figure 1-2). Figure 1-2. Stemming Shared Note Heads NOTE: The soprano part is often called the melody. The alto and tenor parts are called the MU 3310 2 inner voices. The bass part is called the bass line. 2. Voice Ranges. The normal singing range for the soprano, tenor, and bass voices is an octave and a sixth (Major 13th). The alto range is an octave and a fifth (Perfect 12th). Figure 1-3 shows the notes of each voice range. Avoid using the extreme range (the highest or lowest note or two) of each voice unless dictated by the voice leading. Figure 1-3. SATB Ranges 3. Voice Doubling. In four part writing, the three-note triad must have one of its tones duplicated. When the triad is in root position (bass voice has the root of the chord), the bass voice and one of the three upper voices will have the same letter name note. This doubling can be at the unison or any octave relationship. Doubling does not change the harmonic structure of the chord, but it may alter its color and resonance (Figure 1-4). Figure 1-4. Voice Doubling SELF REVIEW EXERCISE 1. Write the inner voices of each triad. Use one third and double the root. The alto voice should have a note higher than the tenor voice (Figure 1-5). Stay within the voice ranges. MU 3310 3 CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. 4. Voice Spacing. a. The distance between the soprano and the alto voices must be a simple interval of an octave or less. b. The distance between the alto and tenor voices must also be a simple interval. c. The distance between the tenor and the bass voices can be either a simple or a compound interval. However, there are restrictions on certain simple intervals between the tenor and bass voices. These restrictions, called low interval limits, dictate how low some intervals may be voiced. The restricted intervals are the minor sixth, the tritone, the third (Major or minor), and the second (Major or minor). There are no limits on the other intervals within the bass voice range (Figure 1-6). Figure 1-6. Low Interval Limits d. Figure 1-7 shows incorrect and correct voice spacing. Figure 1-7. Incorrect and Correct Voice Spacing SELF REVIEW EXERCISE 2. Correct the improperly spaced voicing. Reposition the alto and tenor voices. Do not change the soprano voice (Figure 1-8). CLICK HERE FOR PRINTABLE VERSION. CLICK HERE FOR THE ANSWERS TO THIS EXERCISE. MU 3310 4 NOTE: The term chord is often used when referring to a triad. MU 3310 5

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