A. Students will be able to understand the definition of direct octave and direct fifth.
B. Students will be able to read the written music example of direct octaves.
C. Students will be able to hear the teacher play the example on the piano.
D. Students will be able to understand the definition of voice leading.
E. Students will be able to read, copy, and understand Bach’s Rules for Melody Writing. Students will be able to read and hear music examples for some of these rules.
F. Students will be able to read, copy, and understand Piston’s Rules of Thumb for Root Position Voice Leading. Students will be able to read and hear music examples for these rules.
A. Teacher defines direct octave and direct fifth for the class.
1. Direct octave ŕ the outer voices move by similar motion into an octave AND the soprano is moving by skip. If the soprano moves by step, if is not a direct octave. Direct fifths work the same way, only with different intervals.
B. Teacher defines voice leading for the class and has them copy it.
1. Voice leading ŕ the ways in which chords are produced by the movement of individual lines.
C. Teacher lists Bach’s Rules for Melody Writing and has students copy them.
1. Melody notes should be in the chord (some exceptions).
2. Use conjunct (step-wise) motion.
3. Rules for using leaps in the melody
a. Avoid dissonant intervals (tritone, 7th)
b. Avoid augmented intervals, especially in the soprano
c. Avoid leaps larger than an octave
d. Leaps larger than a P4 must be approached and left in the direction opposite the leap.
e. If you follow step-wise motion by a leap in the same direction, leave in the opposite direction.
f. Consecutive leaps should outline a triad.
4. Melodies should have a clear focal point. The boundaries of each phrase should be hit only one time per phrase.
5. Tendency tones ŕ scale degree 7 must go to 1. However, if 1 goes to 7 first, then 7 can go to 6.
6. Voice parts should stay in SATB order and should not cross. The “zone” created by each voice part lasts through the beat after it leaves, so the voice part below it must wait to cross into that range.
D. Teacher lists Piston’s Rules of Thumb for Root Position Voice Leading and has students copy them.
1. If there are common tones between chords, keep them and move the remaining voice parts to the nearest available position.
a. Root movement by a third has two common tones.
b. Root movement by a fifth or fourth has one common tone.
2. If there are no common tones, move the upper three voices in the direction opposite the bass.
a. Root movement by a second or a seventh has no common tones.
1. Chalk board and chalk
1. Teacher asks students questions about what they learned during class.
2. Teacher reviews what was learned in the previous class to prepare them for a quiz.