Let s think about music theory

Transcription

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2 Let s think about music theory Why teach music theory in your class? Benefits for students -- Knowledge is power Recognizing scale passages in music Knowledge of chords Identifying intervals Ease in instruction Able to use musical language with students Easier to train chord tuning Easier to teach jazz improv.

3 Let s think about music theory How we traditionally learn theory: Formulas for scales, intervals, chords Scales WWHWWWH WHWWWHW Intervals Learned by number of half steps Chords Learned by intervals

4 Let s think about music theory Traditional teaching of music theory is a scaffold for learning theory...but

5 Do you actually use the formulas in real life?

6 Think of theory formulas like learning to read Good to know and use, but once you know it, you don t use the formulas you just know it. Do you sound out every word you read or do you just know them (mostly).

7 The theory formulas are one way to gain the knowledge of things like scales, chords, intervals, transposition but not the only way!

8 Problems with teaching traditional theory in a performance-based class: Time!!! Traditional theory is unified by the basic concept of the half-step. It takes a different approach for each different aspect of theory. Scales based on whole and half steps Chords based on intervals Intervals based on number of half steps Transposition based on intervals Lots of different learning for each concept this takes time.

9 Problems with teaching traditional theory in a performance-based class: Level of student interest Traditional theory requires a higher level of focus. Lose focus with each different idea introduced.

10 What about a different approach with one central idea at it s core?: The Circle of 5ths

11 My method for teaching theory in my band classes Started in school year. Based of the Circle of 5ths Taught in a way to remove the fear of grading while encouraging learning.

12 My method for teaching theory in my band classes Years worth of data showing that classes move from not understanding well, to 94+% of students meeting 80-90% proficiency in all areas. Part of a broader system of non-performance learning vocab studies, rhythm studies, appreciation, theory, ear training.

13 My method for teaching theory in my band classes Taught one small step at a time. Planned out over years, not weeks. Repetition = learned deep. Grading geared towards trying and improving, not necessarily succeeding on the first try

14 My method for teaching theory in my band classes Geared towards improvement, not grades Magic number get this many right and I give 100% for grade. Usually 8/10 by the time we are done class usually gets 94-96% reaching this goal by the end.

15 My method for teaching theory in my band classes The Basics (1 st year) ID Key Signatures Name Accidentals in a Key Signature Major Scales Basic Transpositions

16 My method for teaching theory in my band classes Advanced (2 nd 4 th year) Review Year 1 Then focus on one of the following: Chords Minor Scales (all types) Intervals

17 My method for teaching theory in my band classes Once a week (Thursdays) Short assignments (10 problems) 10 minutes or so at the start of class.

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19 Identifying Key Signatures Given assignment 10 keys to name

20 Identifying Key Signatures Ignore the clef.

21 Identifying Key Signatures Count the number of sharps or flats.

22 Identifying Key Signatures Look up the answer on the circle. (Sharp keys are white circles with black text and flat keys are black circles with white text.)

23 Identifying Key Signatures Problems: Not knowing what to do with no sharps or flats Counting from the sharp/flat line instead of looking for the number. Naming an enharmonic equivalent (Db instead of C#)

24 Naming Accidentals in Key Signatures Given 10 keys

25 Naming Accidentals in Key Signatures Look up key on circle of fifths to get the number of sharps or flats (A Major = outside minors on the inside)

26 Naming Accidentals in Key Signatures Start at the flat/sharp line and write down the sharps or flats in order. F, C, G

27 Naming Accidentals in Key Signatures If a sharp key, add the sharp signs. F#, C#, G#

28 Naming Accidentals in Key Signatures Key phrase to remember for later all other notes are natural

29 Naming Accidentals in Key Signatures Problems: Not adding sharps to sharp keys. Not starting at the flat/sharp line Starting at C Starting at the given key signature Mixing up sharp and flat keys

30 Major Scales Given 10 scales to create:

31 Major Scales Start with naming the accidentals in the major key of the first scale: Db: Bb, Eb, Ab, Db, Gb (and all others are natural)

32 Major Scales Put 8 notes down start on the named note and go line-space-line-space:

33 Major Scales Add the accidentals from the key signature: Db: Bb, Eb, Ab, Db, Gb (and all others are natural)

34 Major Scales Common Problems More than 8 notes on the page. Not starting on the correct note. Skipping notes (not going line-space-line-space) Accidentals placed wrong Behind notes Above notes Not on the same line/space as the notes

35 Transposition Common Wind Transpositions: Bb, Eb, F Goal: be able to say a concert pitch and not need to explain what it means to each instrument.

36 Transposition Think of the circle of 5ths like a giant clock. Transposing: From concert pitch = hours forward To concert pitch = hours backwards

37 Transposition The magic numbers are given on the circle F = 1 hour Bb = 2 hours Eb = 3 hours

38 Transposition Given problem transposing a note from concert pitch to written pitch.

39 Transposition from concert pitch Start by figuring out the magic numbers and name the starting note Fb C Ab F#

40 Transposition from concert pitch Use the circle, start on the given note and move the appropriate hours forward. Use enharmonics if needed. Where you end up is the answer.

41 Transposition from concert pitch 2 Fb 2 hours forward Fb = Gb

42 Transposition from concert pitch 2 hours forward Fb = Gb Write answer higher than the starting point no more than one octave up.

43 Transposition from concert pitch 1 C 1 hour forward C = G

44 Transposition from concert pitch 3 Ab 3 hours forward Ab = F

45 Transposition from concert pitch 1 F# 1 hour forward F# = C#

46 Transposition common problems Wrong number of hours chosen. Wrong direction on the circle. Writing new note below the original note.

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48 Minor Scales Similar to major scale construction. Using key signatures, but minor ones. Start with the natural minor scales and then teach the variations that create the other types of minor scales.

49 Natural Minor Scales Start with naming the accidentals in the minor key of the first scale: d: Bb (and all others are natural) D natural minor scale

50 Natural Minor Scales Put 8 notes down start on the named note and go line-space-line-space: D natural minor scale

51 Natural Minor Scales Add the accidentals from the key signature: Db: Bb (and all others are natural) D natural minor scale

52 Common Problems Natural Minor Scales More than 8 notes on the page. Not starting on the correct note. Skipping notes (not going line-space-line-space) Using the key signatures from major keys. Accidentals placed wrong Behind notes Above notes Not on the same line/space as the notes

53 Harmonic and Melodic Minor Scales No difference from normal theory variations on a natural minor scale

54 Harmonic Minor Scales Create a natural minor scale. Raise the 7 th scale degree one half step.

55 Melodic Minor Scales Create a natural minor scale going up and down. Raise the 6 th & 7 th scale degree one half step on the way up only.

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57 Intervals Same methodology for each interval = easier to learn and less intimidating. Learn the process, not memorize a list of half-step equivalents.

58 Intervals -- Identifying Problem given: Identify an interval for both quality and type ex: P4 Takes some explanation about quality type is easy.

59 Intervals -- Identifying Type: Pretty simple to get across Start by counting the bottom note as 1. Count line-space-line or space-line-space to the second note. The number you end on is the type.

60 Intervals -- Identifying Bb = 1 C = 2 D# = 3 3 So Bb to D# is a 3 rd, unknown quality yet (If greater than 8, then subtract 7 until 8 or less.)

61 Intervals -- Identifying Now that you know the type Bb: Bb, Eb, and all others are natural Figure out the accidentals in the major key of the bottom note.

62 Intervals -- Identifying Now that you know the type Bb: Bb, Eb, and all others are natural Compare the top note to the same note in the key signature. D# compared to D = ½ step higher.

63 Intervals -- Identifying Helpful chart to have

64 Intervals -- Identifying Now that you know the type Use the chart to find the quality. Comparison to Key Signature Perfect Intervals (1, 4, 5, 8) Imperfect Intervals (2, 3, 6, 7) + A (Augmented) A (Augmented) = P (Perfect) M (Major) -1 d (diminished) m (minor) -2 d (diminished)

65 Intervals -- Identifying Name the interval as quality and type A3

66 Strengths: Intervals -- Identifying Built on prior knowledge (key signatures) Same formula for each interval vs. different formula for each.

67 Intervals -- Identifying Common Problems: Not counting the interval correctly (starting at zero for the first note, not 1). Not having the prior knowledge Not able to figure out key signature. Not remembering that everything else is natural. Mixing up perfect and imperfect intervals. Comparison step goes the wrong direction.

68 Intervals -- Creating Best to start with being able to identify an interval. Then you just have to work backwards

69 Intervals -- Creating Best to start with being able to identify an interval. Then you just have to work backwards

70 Intervals -- Creating Create the generic type first count up by line and space until you reach the number and put a note there. 7th

71 Intervals -- Creating Figure out the major key signature for the bottom note. D: F#, C#, all others are natural

72 Intervals -- Creating Use the charts to figure out the accidental to use. Comparison to Key Signature Perfect Intervals (1, 4, 5, 8) Imperfect Intervals (2, 3, 6, 7) + A (Augmented) A (Augmented) = P (Perfect) M (Major) -1 d (diminished) m (minor) -2 d (diminished)

73 Intervals -- Creating Add the correct accidental.

74 Common Problems: Intervals -- Creating Not counting up to the correct note (starting on zero instead of one with the bottom note). Not being able to figure out the key signature.

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76 Chords Similar to intervals same methodology for each triad = easier to learn and less intimidating. Learn the process, not memorize a list of interval formulas for triads/sevenths.

77 Chords -- Identifying Problem given: Name a triad for both root and quality ex: A Maj. Takes some explanation about quality root is easy.

78 Chords -- Identifying Root is no-brainer just name the bottom note of the chord. (I always start with root-position chords only.) C

79 Chords -- Identifying Quality is another problem entirely. But similar in nature to the intervals comparison to the key signature. So start by figuring out the major key signature of the root. C: (all are natural)

80 Chords -- Identifying Compare the 3 rd of the chord to the 3 rd of the major key. Eb (chord 3 rd ) is one half-step lower than E (key signature 3 rd ) C C: (all are natural)

81 Chords -- Identifying Compare the 5 th of the chord to the 5 th of the major key. G (chord 5 th ) is equal to G (key signature 5 th ) C C: (all are natural)

82 Chords -- Identifying Use the chart to find the quality: d m M A 5 th - = = + 3 rd - - = =

83 Chords -- Identifying d m M A 5 th - = = + 3 rd - - = = Cm

84 Chords -- Identifying Common 7 th chords can be thought of the same way: 7 7 m7 mm 7 Do m7 M7 7 th = - = 5 th - - = = = = 3 rd = =

85 Chords -- Creating Best to start with being able to identify a chord. Then you just have to work backwards just like intervals

86 Chords -- Creating Create the generic type first stack thirds above the base note = all lines or all spaces. Ab min.

87 Chords -- Creating Figure out the major key signature for the bottom note. Ab: Bb, Eb, Ab, Db, all others are natural

88 Chords -- Creating Use the charts to figure out the accidentals to use. d m M A 5 th - = = + 3 rd - - = =

89 Chords -- Creating Add the correct accidentals. Ab min.

90 Common Problems: Chords -- Creating Not being able to stack 3rds. Not being able to figure out the key signature. Going the wrong direction on the comparison chart (comparing the key to the chord instead of the chord to the key).

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92 Chords -- Easy I teach this to my jazz band students only need to very quickly create chords to figure out safe notes for solos. Very easy to use, but I prefer them to be able to think through the key signature method and understand the relationship between triads and key signatures.

93 Chords -- Easy You just have to know the pattern : Diagonal in (clockwise) Straight out Then you just apply the pattern to the Circle of 5ths.

94 Chords -- Easy Major chords: Start on the named note on outside of the circle. Bb Maj: 3 1 2

95 Chords -- Easy Minor chords: Start on the named note on inside of the circle. D min: 2 1 3

96 Chords -- Easy 7th chords: just continue the pattern to get M7 and m7 patterns. D min7:

97 Chords -- Easy 7th chords: just continue the pattern to get M7 and m7 patterns. Bb Maj7:

98 Chords -- Easy Other chords: Modify the basic 4 M, m, M7, m7. Chord Base Alteration Aug: Major triad Raised 5 th Dim: minor triad Lowered 5 th Dom7: Major 7 th Lowered 7 th mm7: minor 7 th Raised 7 th M7b5: minor 7 th Lowered 5 th

99 Chords -- Easy Biggest thing just remember the pattern: Diagonal in (clockwise) Straight out

100 Scan for a PDF copy of the presentation: Scan for a color PDF of the Circle of Fifths:

101 If you would like access to the Google Drive with worksheets from the Music Quizzes program I talked about, me at: jtheine@nthurston.k12.wa.us I will be adding stuff next week as well as putting up the installation files for the program you have to find a really old computer to run it on though