Rhythm, Pitch, & Harmony - Wikispacesappletoneastchoirs.wikispaces.com/file/view/RHYTHM... · RHYTHM, PITCH & HARMONY Students in the Varsity and Freshmen choirs participate in a

Name: ____________________ Folder # _______

Rhythm, Pitch, & Harmony

“I would teach children music, physics, and philosophy; but most importantly music, for the patterns in music and all the arts are the keys to learning”

― Plato

“Music can change the world because it can change people.” ― Bono

“The beautiful thing about learning is that nobody can take it away from you.”

― B.B. King

“I believe that we learn by practice. Whether it means to learn to dance by practicing dancing or to learn to live by practicing living, the principles are the same. In each, it is the performance of a dedicated precise set of acts, physical or intellectual, from which comes shape of achievement, a sense of one's being, a satisfaction of spirit… Practice means to

perform, over and over again in the face of all obstacles, some act of vision, of faith, of desire. Practice is a means of inviting the perfection desired.”

― Martha Graham

“Any fool can know. The point is to understand.” ― Albert Einstein

(920) 832-6212 2121 E Emmers Dr Appleton, WI 54915 www.aechoirs.com

RHYTHM, PITCH & HARMONY Students in the Varsity and Freshmen choirs participate in a “skill builder” program that teaches rhythm counting and pitch relationships. These skills are fundamental for fully immersing yourself in the choral experience. Skills will be practiced and graded in class, but some work will be required outside of the choir rehearsal. TIMELINE End of Year One: Complete 1 – 25 (prerequisite for Varsity Choirs) End of Year Two: Complete 1 – 50 (prerequisite for Chamber Choir audition) End of Year Three: Complete 1 – 74 (prerequisite for Easterners audition) End of Year Four: Complete Packet

PROCESS A student must complete an individual “check-up” to pass each section. You are ready for a “check-up” when you feel confident with all exercises in a section. Check-ups can be completed in three ways: 1) Perform selected exercises for Mr. Van Sickle or Ms. Schuld 2) Perform selected exercises for a Student Teacher (appointed by Mr. V or Ms. S) 3) Record selected exercises and submit to Mr. V or Ms. S via email. (.mp3 or .wav file) [email protected] [email protected] When submitting recordings via email, please remember to state your name and exercise number.

SKILL DAYS Some portions of rehearsals will be used to work on these fundamental skills each week. During this time, you should be working individually or with a small group to practice. Teachers will be available for check-ups and for help. You can also use this time to record your exercises and submit them via email.

GRADES Grades will be based on individual progress and improvement. While it is expected that students complete the appropriate exercises prior to the end of the year, students who are struggling will be granted extra time provided that they are actively working on their skills. We want you all to succeed, and we will work to make sure this is the case – as long as you put in time and effort as well!

STUDENT TEACHERS Students who have completed more than the required number of exercises for their year in choir can be appointed “student teachers.” These students can administer check-ups as well. However, you cannot do a check-up with a student teacher more than twice in a row (you must perform for Mr. V or Ms. S at some point!) Also, all pitch/harmony exercises must be sung for Mr. V or Ms. S (not a student teacher).

Dan Van Sickle, Director [email protected]

Katie Schuld, Director [email protected]

SECTION A 1) Write the time signature in each empty box. 2) Write counting above the notes ( 1 + 2 + ) 3) Write solfege below the notes as directed. 4) Sing exercises on “ta-di” (or solfege) while tapping the beat.

Section A Complete _______ (teacher’s initials)

SOLFEGE

SOLFEGE

SECTION B 1) Write the time signature in each empty box. 2) Write counting above the notes ( 1 + 2 + 3 + ) 3) Write solfege below the notes as directed. 4) Sing exercises on “ta-di” (or solfege) while tapping the beat.

Section B Complete _______ (teacher’s initials)

SOLFEGE

SECTION C Sing a Major Triad (ascending and descending).

Sing each line. Keep your Do anchored! Begin on any comfortable pitch.

Sing a major scale using hand signs (ascending and descending).

Section C Complete _______ (teacher’s initials)

SECTION D 1) Write the time signature in each empty box. 2) Write counting above the notes ( 1 + 2 + ) 3) Write solfege below the notes as directed. 4) Sing exercises on “ta-di” (or solfege) while tapping the beat. - Feel both the “down” and the “up” (subdivide!)

Section D Complete _______ (teacher’s initials)

SOLFEGE

SECTION E Sing the interval pattern below. Don’t let your Do wander!

22 – 24 = PARTNER TIME! (Harmony!) 1) Partner #1 sings first and sustains the note (you’ll need a lot of air!). 2) Partner #2 sings his or her part – SLOWLY. Sustain each note. 3) Listen to each interval. Tune! 4) Switch parts.

23 PARTNER #1 PARTNER #2

23A Sing DO Find RE

23B Sing same DO Find MI

24 PARTNER #1 PARTNER #2

24A Sing DO Find FA

24B Sing same DO Find SOL

SECTION E (continued)

AMERICA (My Country ‘Tis of Thee)

This exercise is about keeping a song in tune while singing a cappella. Sing using words. Pick any comfortable key for your voice.

Section E Complete _______ (teacher’s initials)

25

SECTION F 1) Write the time signature in each empty box. 2) Write counting above the notes ( 1 + 2 + ) 3) Write solfege below the notes as directed. 4) Sing exercises on “ta-di” (or solfege) while tapping the beat. - Feel both the “down” and the “up” (subdivide!)

TIE A curved line connecting two

pitches that are the same. Hold the pitch for the combined

value of the connected notes.

Section F Complete _______ (teacher’s initials)

SOLFEGE

SOLFEGE

SECTION G

EVOLUTION OF THE DOT

These two examples sound the same.

These two examples sound the same.

Section G Complete _______

SOLFEGE

SOLFEGE

SECTION H

INTERVAL PATTERNS

Sing the following patterns on solfege with hand signs.

DUETS

1) Practice each duet with a partner. Be comfortable singing both lines. 2) Sing each duet on solfege first – but then sing on “doo” so you can match your vowel sounds. 3) Sing slowly so that you can hear your voices tune.

SECTION H COMPLETE

____________

(Initials)

SECTION I

E X A M P L E S

16th Notes

- Write counting above the notes, and solfege below the notes as directed. - Tap the beat (up and down) and sing on “Ta-Ka-Di-Mi” syllables.

Section I Complete _______

SOLFEGE

SECTION J

REVIEW Write in time signature & counting, and sing on “Ta-Ka-Di-Mi”

50

DUET TIME!! 1) Write solfege for both parts below the notes. 2) Sing together with your partner on solfege. 3) Switch parts and sing again! From Sicut Cervus

Giovanni Pierluigi da Palestrina

Section J Complete _______

SECTION K

In 6/8 time, each measure has 6 “small” beats (microbeats), or 2 “big” beats (macrobeats).

Microbeat – 6 beats

Macrobeat – 2 beats

- Write counting above the notes, and solfege below the notes as directed – as well as the time signature. - Practice first by tapping the microbeat as you sing on “doo”. -When you feel confident, tap the macrobeat while singing on “doo” or solfege.

Section K Complete _______

SOLFEGE

SOLFEGE

SECTION L

E X A M P L E S

- Write counting above the notes, and solfege below the notes as directed. Don’t forget the time signature! - Tap the beat (up and down) and sing on “Ta-Ka-Di-Mi” syllables.

SOLFEGE

Section L Complete _______

SECTION M

- Sing the ascending and descending chromatic scale using solfege syllables.

= sharp = raises pitch one half-step = flat =lowers pitch one half-step = natural = cancels a sharp or flat

61

descending half step ascending half step

descending whole step ascending whole step 63

#63 1) Start on any comfortable pitch (“Do”) 2) Sing each interval pattern on solfege. 3) Continue practicing (in random order!) until your ear and voice can sing and identify the difference between half and whole steps.

For #64, sing both the natural and harmonic minor scales. Listen for

the dfference between the two.

For #65, sing the melodic minor scale – listen carefully for

the difference between the

ascending and the descending

sections.

62

65

64

Half Steps, Whole Steps, & Accidentals

1) Start on any comfortable pitch. 2) Sing a major triad. 3) Start on the same pitch and sing a minor triad.

SECTION M (continued) 1) Write solfege below the notes. 2) Sing the melody on solfege, paying special attention to the accidentals.

SECTION N

Write counting and solfege for each melody. Sing exercises on solfege while tapping the beat. Remember – 2 beats per measure! CUT TIME!!

Section M Complete ____

COMMON TIME

4 beats per measure. Each quarter note

gets one beat.

CUT TIME

2 beats per measure. Each half note gets one beat.

66

67

68

From Tu es Petrus (Palestrina)

From Miserere (Antonio Lotti)

SECTION N (continued)

SECTION O – Syncopation and Such

69

70A

71

72

From Kyrie (Tomas Luis Victoria)

Section N Complete ____

Section O Complete ____

- Write counting above the notes. Tap the beat (up and down) and sing on “”doo”.

70B

Notice that 70B sounds EXACTLY the same as 70A – only the notation is different.

SECTION P

73 PARTNER #1 PARTNER #2

Sing DO Find SOL

Sing DO in a new key Find MI

Sing DO in a new key Find RE

Sing DO in a new key Find FA

Sing DO in a new key Find LA

SWITCH PARTNERS AND REPEAT!! Hint Think how the two notes sound together… what “quality” does the interval create?

74 PARTNER #1 PARTNER #2

Sing SOL Find DO

Sing MI in a new key Find DO

Sing RE in a new key Find DO

Sing FA in a new key Find DO

Sing LA in a new key Find DO

SWITCH PARTNERS AND REPEAT!!

75 Sing DONA NOBIS PACEM in a round with a partner. You may use solfege or the Latin text.

Section P Complete ____