This page contains hyperlinks to online documents and information relevant to the class.
More links will be added over the course of the quarter.
#4 - a composition for a trio of improvisers by Michael Dessen.
Autumn Leaves - by Joseph Kosma, a leadsheet for analysis.
Confirmation - by Charlie Parker, a leadsheet for analysis.
How High the Moon - by Morgan Lewis, a leadsheet for analysis.
I - IV - V arpeggiation - a drill for training singing and recognition of primary chords in major and minor keys, to be practiced in all major and minor key, replacing the solfège syllables with note names.
Nancarrow String Quartet No. 1, pp. 8-9 - a passage demonstrating explicit use of changing meter.
Nancarrow String Quartet No. 1, pp. 26-27 - a passage demonstrating use of quintuplet quarter notes, quintuplet half notes, and quintuplet dotted half notes (i.e., 5:2, 5:4, and 5:6).
Nancarrow String Quartet No. 1, pp. 28-29 - a passage demonstrating cross-rhythms of 2:3:4:5:6 as well as 4:3 hemiola.
Nancarrow String Quartet No. 1, pp. 30-31 - a passage demonstrating cross-rhythms of 2:4:5:6 simultaneous with metric hemiola of 5:4:3:24/7.
Non-chord tones - examples and explanations of the proper use of passing tones, neighboring tones, and suspensions in classical harmony writing.
Chromatic lower appoggiaturas - a drill for practice singing lower chromatic appoggiaturas to each note of the diatonic major scale.
Chromatic lower neighbor tones - a drill for training your ear to hear lower chromatic neighbor tones to each step of the diatonic scale, and also to hear those directly as lower chromatic appoggiaturas.
Chromatic melodies - two melodies with chromatic neighbor tones and appoggiaturas to the notes of the diatonic scale.
C clef melodies - melodies for practicing sightreading in tenor and alto clefs.
Counterpoint - An example of two-part imitative counterpoint in Baroque style, based on a chord progression derived from Bach's Partita in B minor for violin, with all pitches and intervals analyzed.
Divisions up to 8 - an exercise for practicing and comparing beat divisions 1 through 8.
Duplets in 6/8 time - an exercise for practicing correct performance of 3 against 2 in 6/8 time, duplets and quadruplets (2 against 3 and 4 against 8) in 6/8 time, and contrasting similar rhythms in 5/8 and 7/8 time.
Duo in C minor - Sixteen measures of tonal two-part counterpoint for viola and cello based on this chord progression.
In stiller Nacht - a folk song arranged for mixed choir by Johannes Brahms.
Jazz duo - Opening measures of a duo in jazz style for alto saxophone and bass (and a version with the alto part transposed).
Simple jazz piano intro - an example of a simple piano accompaniment that realizes the same harmonies as the first four measures of the above duo in jazz style for alto saxophone and bass: Am7, Dm7, G9, C7.
Chromatic jazz piano intro - an example of a much more chromatic and dissonant piano accompaniment that implies the same harmonies as the above simple jazz piano intro.
Melodies for sightsinging - for practicing chromatic alterations, diminished seventh chords, and octave displacements.
Minuet in D-minor from the notebook of Anna Magdalena Bach - note the use of the minor ninth Bb as an appoggiatura to the dominant seventh chord on A, which demonstrates the close relationship between the dominant seventh chord and the leading tone diminished seventh chord.
Nana for voice and piano, from Siete Canciones Populares Españolas by Manuel de Falla.
Partita in B-minor for violin by Johann Sebastian Bach - in this course we will study the Sarabande (found on page 6 of the PDF document, printed with the page number 15) and the Double that follows the Sarabande (found on page 7 of the PDF document, printed with the page number 16).
Prelude and Fugue in C-major by Johann Sebastian Bach - from the Well Tempered Clavier, book 1.
Rhythm exercises - rhythms emphasizing timepoints in triple and quadruple beat divisions, and "gear-shifting" between divisions of 3, 4, and 5, provided by TA Danny Sanchez.
"Schubert"-like song - the opening measures of a song modeled on the type of harmonies, accompaniment, and melody found in Ave Mari by Franz Schubert.
Sixes - an exercise emphasizing sextuple beat divisions, considered either as two groups of three or as three groups of two.
Sixteen bars of 5/8 - A simple melody and arpeggiated piano accompaniment in 5/8 time.
Symphony No. 5 in C minor - by Ludwig van Beethoven, full orchestral score.
Thirds in major - a drill for singing all the thirds found in a major scale.
Timepoints in Beat Divisions 4 and 3 - systematically shows all possible rhythms within quadruple and triple beat divisions.
Timepoints in Divisions of 4 and 3 (Hocket Exercises) - exercises incorporating all possible rhythms in quadruple and triple beat divisions; for practice solo and/or as a duo with a partner.
Two-three-four-five-six - a rhythm exercise that contains every possible adjacency of duple, triple, quadruple, quintuple, and sextuple beat divisions.
Up-Down Drill in Major (also available on NoteFlight) - a drill for training singing and recognition of intervals in the major scale, to be practiced by replacing the solfège syllables with note names and transposing to every major key.
Up-Down Drill in Minor - a drill for training singing and recognition of intervals in the natural minor scale, to be practiced by replacing the solfège syllables with note names and transposing to every minor key up to five flats and sharps.
Up-Down Drill in Harmonic Minor - a drill for training singing and recognition of intervals in the harmonic minor scale, to be practiced by replacing the solfège syllables with note names and transposing to every minor key up to five flats and sharps.
Symphony No. 5 in C minor - by Ludwig van Beethoven, recorded by the Vienna Philharmonic Orchestra conducted by Herbert von Karajan. (You must be on the UCI LAN, or logged onto it via VPN, in order to access this link.)
#4 by Michael Dessen - A MIDI realization of the skeletal structure (bass pitches and drum accents).
"Composition Project: Getting Started" by Christopher Dobrian - some advice and examples for getting started on the final composition project for the class.
"How We Listen", chapter 2 of What to Listen for in Music by Aaron Copland - a transcription (unauthorized) of a well-known essay by a prominent American composer
Appendix 1, "Some Fundamentals of Acoustics", pp. A0-A5 from Harmonic Practice in Tonal Music by Robert Gauldin - a very brief summary of the physics of musical sound.
How the valves work on a horn - a straightforward, clear, and useful explanation/demonstration by a professional horn player.
"La quinte juste" (The Perfect Fifth) by Kaamelott - a skit by the French television comedy team Kaamelott imagining a discussion of acceptable musical intervals in medieval times.
B minor progression - a worksheet for practice writing melodies strictly based on a given tonal progression.
Diminished 7th chords - a list of twenty observations about the way diminished seventh chords are used in classical music.
Final exam review - a list of topics likely to be included on the final exam.
Chris Dobrian's patented foolproof 4-part voice leading rules for root-position triad progressions - a useful starting point for doing academic harmony exercises.
Keyboard examples implementing Chris Dobrian's 4-part voice leading rules for root-position triad progressions - practice these in all keys.
Jazz chord worksheet - for practice in the spelling and recognition of jazz chords.
Leading-tone seventh chords - pages 153-155 of the workbook for Harmonic Practice in Tonal Music by Robert Gauldin.
Enharmonic leading-tone seventh chord spellings - an assignment for practicing enharmonic spellings of diminished seventh chords.
Partnerships - pairings of composer + partner for the final composition/performance project.
This page was last modified November 27, 2012.
dobrian@uci.edu
