Intro to Music Theory, Composition, & Arranging

Elective Course Overview for High School Students

COURSE DESCRIPTION & PURPOSE:

This course is designed to provide students with a variety of fundamental tools, skills, and concepts regarding music theory, composition, and arranging. The semester elective course will meet for an hour on a daily basis. Classes will be held in the music computer lab, which includes 15 computer/keyboard stations. Throughout the semester, students will primarily be working on an original composition or arrangement, which will be performed by peer students or volunteers at the end of the semester. The prerequisite for the course includes at least 3 years experience playing an instrument (including voice) and performing in a music ensemble. Due to limited space in the music computer lab, students will fill out an application and be interviewed, and the top 15 students will be selected by the instructor.

PRIOR LEARNING:
A minimum of 3 years playing an instrument and performing in an ensemble. Basic proficiency in: Key & time signatures Keyboard skills Chords & Progressions

MATERIALS: Students will receive the following materials on the first day of class:
Course Syllabus Course Calendar Composition/Arrangement Proposal Sheet Musical Instrument Range Charts Instrument Characteristics Chord Dictionary Chart Scale Syllabus Key Signature Chart Note Names & Intervals Manuscript Paper

The following are additional materials that students will utilize during the semester elective course: Course Texts & Materials Clendinning, Jane Piper and Elizabeth West Marvin. The Musicians Guide to Theory and Analysis. New York: W. W. Norton & Company, Inc., 2005. Clendinning, Jane Piper, Elizabeth West Marvin and Joel Philips. The Musicians Guide to Aural Skills. New York: W. W. Norton & Company, Inc., 2005. Teacher Resources Clendinning, Jane Piper and Elizabeth West Marvin. Anthology for The Musicians Guide to Theory and Analysis . New York: W. W. Norton & Company, Inc., 2005. Cutler, Timothy. Tonal Music Theory Examples: A Collection of Scores and Sound Files. Cleveland Institute of Music. 13 August, 2009. http://www.musictheoryexamples.com/. Salzer, Felix and Carl Schachter. Counterpoint in Composition. New York: Columbia University Press, 1989. Salzer, Felix. Structural Hearing: Tonal Coherence in Music. New York: Dover Publications, 1962. Schenker, Heinrich. Five Graphic Music Analyses. New York: Dover Publications, 1969. Schenker, Heinrich. Trans. John Rothgeb and Jrgen Thym. Ed. John Rothgeb. Counterpoint. Ann Arbor: Musicalia Press, 2001. Westergaard, Peter. An Introduction to Tonal Theory. New York: W. W. Norton & Company, Inc., 1975.

GOALS: At the end of the course, students will have gained:

1.) 2.) 3.) 4.) 5.) 6.) 7.) Knowledge of the instrument families (ranges, clefs). Techniques for creating melodies, counter-melodies, and harmonies. Basic musical forms and styles. Arranging methods based on a variety of genres and instrumentation. Knowledge of a notation software program to create full scores, audio files, and individual parts for the performers. An opportunity to have a composition performed. A love and appreciation for composition, and a sense of empowerment and desire to continue composing.

TIMELINE FOR IMPLEMENTATION:

Week
1 1 1 1 1 2 2 2 2 2 3 3 3 3 3 4 4 4 4 4 5 5 5 5 5 6 6 6 6 6 7 7 7 7

Date
Aug. 20 21 22 23 24 27 28 29 30 31 Sept. 3 4 5 6 7 10 11 12 13 14 17 18 19 20 21 24 25 26 27 28 Oct. 1 2 3 4

Topic
Introductions Review of Basic Skills Review of Basic Skills

Readings/ Assignments

Assignments Due

Watch, Listen & Learn Session

Composition/Arrangement Proposal Computer Workstation Orientation Computer Work Station Orientation Proposal Presentations Proposal Presentations Proposal Presentations Preparing Scores In Sibelius Preparing Scores In Sibelius Preparing Scores In Sibelius Preparing Scores In Sibelius Preparing Scores In Sibelius Pitch (melody, harmony, chords, and scales) Pitch (melody, harmony, chords, and scales) Pitch (melody, harmony, chords, and scales) Rhythm (meters, tempos, & note values) Rhythm (meters, tempos, & note values) Rhythm (meters, tempos, & note values) Dynamics & Phrasing Dynamics & Phrasing Intervals Intervals Instrument Families (ranges & clefs) Instrument Families (ranges & clefs) Instrument Families (ranges & clefs) Instrumental Voicings Instrumental Voicings Instrumental Voicings Instrumental Textures & Timbres Instrumental Textures & Timbres Instrumental Textures & Timbres Research Songs

Proposal Presentations Proposal Presentations Proposal Presentations

7 8 8 8 8 8

5 8 9 10 11 12

Musical Forms Musical Forms Musical Forms

Tension & Release Devices:

Chord Progressions

Tension & Release Devices:

Chord Progressions

Tension & Release Devices:

Chord Progressions

9 9 9 9 9

15 16 17 18 19

Tension & Release Devices:

Counterpoint

Tension & Release Devices:

Counterpoint

Tension & Release Devices:

Counterpoint

Tension & Release Devices:

Dynamic & Tempo Contrasts

Tension & Release Devices:

Dynamic & Tempo Contrasts

10 10 10 10 10 11 11 11 11 11 12 12 12 12 12 13 13 13 13 13 14 14 14 14 14 15 15 15

22 23 24 25 26 29 30 31 Nov. 1 2 5 6 7 8 9 12 13 14 15 16 19 20 21 22 23 26 27 28

Tension & Release Devices:

Dynamic & Tempo Contrasts Matching Moods & Emotions Matching Moods & Emotions Matching Moods & Emotions

Student Teacher Consultations Student Teacher Consultations Student Teacher Consultations Student Teacher Consultations Student Teacher Consultations Finalizing Scores & Creating Parts Finalizing Scores & Creating Parts Finalizing Scores & Creating Parts Finalizing Scores & Creating Parts Finalizing Scores & Creating Parts
Coordinating & Rehearsing with Musicians Coordinating & Rehearsing with Musicians Coordinating & Rehearsing with Musicians Coordinating & Rehearsing with Musicians Coordinating & Rehearsing with Musicians Coordinating & Rehearsing with Musicians Coordinating & Rehearsing with Musicians Coordinating & Rehearsing with Musicians Coordinating & Rehearsing with Musicians Coordinating & Rehearsing with Musicians

Performances Performances Performances

15 15 16 16 16 16 16

29 30 Dec. 3 4 5 6 7

Performances Performances Reflections on the Course Reflections on the Course Reflections on the Course Reflections on the Course Reflections on the Course

ASSIGNMENTS:
1) Preliminary Research Assignment During the first week of class, students will be asked to research and choose a
musical style or specific song for their composition/arrangement. At the end of the week, students will present either a video or audio recording of the style or song, explain to the class why they chose it, and what they hope to accomplish with it. Recordings can be in the form of a CD, DVD, Youtube Link, or Spotify. (Note: Chosen songs with lyrics MUST use appropriate language.)

2) Composition/Arrangement Proposal After students have chosen a specific style or song for their
composition/arrangement, they will submit a proposal that outlines details for the piece, including the ensemble type, instrumentation, etc. (See attached template)

3) Theory & Writing Exercises Throughout the duration of the course, the instructor will engage students in a variety of
exercises geared toward the following topics:

Instrument Families (ranges & clefs) Key & Time Signatures Chords & Scales Melodic Themes Rhythmic Variations Instrumental Voicings Matching Moods & Emotions

4) Song Drafts Students will submit drafts of their work throughout the course, including a final Performance Draft. 5) Reflection Essay Students will express in a 3-5 page paper their composing/arranging experience, including what was
fun, challenging, etc. about it.