PFET 365 PERFORMANCE EAR TRAINING FOR KEYBOARDS 2
Instructor:
______________________________________________
Mailbox:
_________ Phone: ________________
Office: __________ Office
hours: _______________
Course Chair: Steve Prosser
Course Description: Continuation of Performance Ear
Training for Keyboards 1.
Course Objective: PFET 364 and 365 form a two-course
group whose intent is to improve the student's aural skills in connection with
the principal instrument. Upon
satisfactory completion of this course the student will be better able to
instrumentally reproduce what is heard both internally and externally.
Required Textbook: In-class material and handouts will be
distributed as necessary.
Supplies needed: Students must supply their own headsets
(1/4" plug) for classes and practice in the keyboard labs.
Course Requirements,
Out-of-class Preparation:
Quarterly quizzes in addition to midterm and final exams will be
required. In order to maintain
satisfactory standing in this class, approximately two hours per week of
out-of-class preparation are recommended.
Midterms: March 8-12
Final Exams: May 3-7
Grading Criteria:
A (90-100) Superior,
Exceptional; control of course material enables excellent production.
B (80-89) Good;
grasp of material enables above-average production.
C (70-79) Average;
assimilation of material enables acceptable production.
D (60-69) Below
Average; exposure to material enables poor, but passable production.
F (below 60) Not
passing; assimilation of material insufficient to demonstrate acceptable
productive capacity.
Final Grade Determination: Your final grade will be determined by
considering the following components at the indicated weights:
20% Attendance
10% Attitude
20% Quarterly quizzes
25% Midterm exam
25% Final exam
Attendance Policy: If your fourth unexcused absence occurs
before the "W" deadline (see below), the instructor may withdraw you
from the course. If your fourth
unexcused absence occurs after this deadline, a course grade of F may
result. Withdrawal is not
automatic. It is ultimately your
responsibility to initiate withdrawal proceedings prior to the "W"
deadline. In case of doubt, ask
the instructor or the Counseling Center.
Deadline for Course
Withdrawal: 5:00 pm Friday,
March 26, 2004. Neither the instructor nor the student may initiate a
"W" after that date.
PFET 365 PERFORMANCE EAR TRAINING FOR KEYBOARDS 2
Topical
Course Outline
For the 12-week Summer semester,
course topics shown on this outline will be rearranged to present in the
shorter term. A somewhat
accelerated pacing will eliminate any omission of course material.
1. Extensive
review of blues motifs in various keys (C, F, G, Bb, Eb, etc.).
2. a. Extensive
review of major key motifs in various keys.
b. Extensive
review of secondary and substitute dominants.
c. Extensive
review of modal interchange.
3. a. Conclusion
of major key harmony exercises: use of longer motifs, performance of harmonic
motifs and voice-leading, bass lines.
b. Exercises
based on unresolving dominants (diatonic and non-diatonic roots).
4. a. Begin
minor key exercises: Explanation of scales to be used (melodic minor, traditional
and real minor, harmonic minor and natural minor).
b. Start
minor key exercises using real minor. Melodic motifs, harmonies, bass lines and various key centers.
5. Exercises
using traditional melodic minor: four and eight bar motifs. Bass lines and performance of harmonies
using various key centers.
6. Exercises
using harmonic minor: performance of melodic motifs; bass lines and harmonies
in various keys.
7. Exercises
in natural minor: performance of melodic motifs; bass lines and harmonies in
various keys.
8. Mid-term
exam: per instructor individual
performances, primarily on minor keys.
9. a. Start
modal scale exercises. Explanation
of the modal scales: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and
Locrian.
b. Begin
exercises using Dorian scale in various common keys. Performance of typical Dorian melodic motifs, bass lines and
harmonies.
10. a. Exercises in
Phrygian mode in various keys.
b. Discussion
of fingering problems in performance in the more difficult keys.
c. Exercises
using typical melodic motifs, bass lines and harmonic patterns.
11. Exercises in Lydian mode: same
format as Week 10.
12. a. Exercises in Aeolian
mode.
b. Exercises
in Mixolydian mode in various keys, using typical melodic motifs.
c. Performance
of modal harmonies and bass lines.
13. a. Brief study of and
exercises in Locrian mode.
b. Summation
of all modes: Dorian, Phrygian, Lydian, Mixolydian and Aeolian. Melodic
motifs, bass lines and harmonies.
14.
Review of minor-key and modal
examples.
Final exam: individual performance.