203 Week 2 Tutorial

Introduction

  • The speaker expresses that they take time to understand patterns in music theory, emphasizing quick progression can be overwhelming.

  • They encourage the audience not to feel pressured by faster learners, creating an inclusive learning environment.

Assignment Overview

  • The speaker assigns exercises from the workbook:

    • 14.1 and 14.2: Focus on part writing exercises.

    • 14.2 b: Specifically highlights the importance of these questions.

    • Reference to various other questions and examples discussed in prior sessions.

    • 14.5: Application of figured bass writing.

    • 14.6: Importance of exercises 1a and 1b, with a focus on part writing to build exam preparedness.

Understanding Figured Bass

  • Figured Bass: Notation system indicating intervals above a bass note. Example: The notation “6” refers to the sixth scale degree above the bass note.

  • Clarification on symbols:

    • A crossed-out number signifies that an accidentals (such as sharp or flat) should be applied.

    • Example: “6/” denotes it is a sharp on the sixth note above the bass.

    • This is especially important in cases where seventh chords are used.

Analysis of Chords

  • Speaker discusses specific instances of figured bass:

    • They analyze a specific example from 14.2 part 1b:

    • The key is G minor, and the figured bass given is 6 4 3 with a sharp indication on the sixth.

    • Breakdown of chord inversions:

      • Root Position (7): 753

      • First (6): 653

      • Second (4 3): 643

      • Third (4 2): 642

  • Emphasis on understanding the interval stacking of chords for accurate part writing.

Voice Leading Principles

  • The speaker stresses the importance of voice leading: arranging notes in a musical piece to avoid collisions (paralleling voices) and enhance tonal clarity.

  • Discusses the function of cadences and how to prepare them:

    • Contrary Motion: Preferred for effective voice leading.

    • Common Practice: Use of stable chords (root position) versus unstable chords (inversion).

Collaborative Learning

  • Introduction of participants in the session and establishing a collaborative environment where names help personalize learning.

  • Localized discussions addressing specific notes and inquiries from the audience regarding the material presented.

Recording Results

  • Emphasizes that any confusion will be addressed through iterative part writing exercises over the term, and that students are encouraged to practice these in a structured way.

  • The speaker plans to prepare detailed answers to the part writing exercises after the session to help students solidify their understanding.

Recommended Learning Techniques

  • Students are encouraged to utilize annotation tools, charts, and notes for analysis. For example:

    • Making tables of chords.

    • Visualizing notes on a keyboard.

    • Creating voice-leading diagrams to map musical lines.

  • The power of practice is emphasized, aiming to have students develop their written skills while also improving their aural skills as they progress.

Wrap-up and Future Directions

  • The speaker suggests additional areas of review for the students:

    • Encouragement to review earlier chapters on figured bass before continuing.

    • Acknowledgment that learning is complex and iterative, highlighting that it is important to revisit basics frequently throughout their coursework.

    • The progression will cover flexibility in terms of musical notation and emotional expression through music theory.

Final Notes

  • Reiteration on the importance of completing coursework and practice for mastery of the subject.

  • Reminder to engage with various exercises provided in the material to enhance understanding and retention of concepts.