exploring theory with practica musica jeffrey evans pdf

Exploring theory with practica musica jeffrey evans pdf full#
Exploring theory with practica musica jeffrey evans pdf series#

Exploring theory with practica musica jeffrey evans pdf series#

Simple and brief activity in which you identify the relative minor or major of a series of major or minor key signatures. You to find the notes of a major melody drawn on the staff, while the computer plays harmonic accompaniment. The following activity, A Major Scale Melody, asks The program then shows you what you should have done if you made an error. The Major Scale, in Course 1, simply asks you to play on the screen piano or any input device the notes of a major scale, Won't be counted: microphone input works well but is too slow for accurate rhythm evaluation because the computer needs to hear a tiny bit of the note before it can be Great for working out the pitches of a band part! Again rhythm The same, except that here you can enter the music you want to practice (or open a file saved earlier). You can then play the notes as you normally would, from the transposed part, and have them correctly evaluated at their concert pitch. Pitch Reading activity except that you can set the transposition of the staff, as in a typical band or orchestra part for your instrument. Transposed Pitch Reading has a special significance for those who play tranposing instruments (clarinet, trumpet, horn, etc.) It works like the normal 4-level

Signature, melodies with a key signature but no accidentals, melodies with accidentals but no key signature, and melodies in key signatures with accidentals. Pitch Reading, one of the original 17 activities, has 4 levels of difficulty: melodies built of naturals only with no key Reading Accidentals, from the textbook course, gives you practice in reading melodies that include accidentals (sharps or flats notįound in the key signature). Lets you either make up a melody to practice with, or open a music file that was created earlier. Keys, another textbook activity, deals specifically with reading melodies that have no accidentals but do have key signatures. Youįind the notes on the screen piano, fretboard, an external keyboard, or by singing them into a microphone (rhythm isn't counted in this type of exercise). In the textbook course, Reading Treble Clef and Reading Bass Clef give you simple melodies instead of single pitches. It can also be used with keyboard input, in which case it's a simple keyboard The program: a correct answer means hitting that same note clearly on the first attempt. This is a good one for singers using a microphone as input to Repeat Pitches is a very basic activity that focuses on simply repeating a pitch that is played by the computer. This time there's a balloon drop to provide time pressure, which adds fun. Single Pitches presents one pitch at a time in the clef of your choice (any clef at all) and asks you toįind that pitch on the screen piano or fretboard orĮxternal instrument or again, to sing it. The pitches are displayed on a staff and you must find them on the screen piano or fretboard or an external instrument. In level 1 you practice melodic pitches found in the spaces of the treble G clef in level 2 the pitches found on Starting Pitch Notation, in Course 1, presents one pitch at a time in the treble clef, together with explanations. Dictation activities are described on the Here we will list activities that deal primarily with reading.

Exploring theory with practica musica jeffrey evans pdf full#

Scales and Key Signatures, Rhythm and Meter Signatures, Full Sightreading, Intervals, Single Chords, andĬhord Progression, Melodic Development, Voice Leading, and These can be divided into activities dealing with Reading Pitch Notation, Practica Musica contains a large number ofĪctivities whose focus is primarily on theory. Some of the Activities in Practica Musica blend both theory and ear training and some are specifically one or the other. You can't progress very far even in Theory without In order to tell the scale degree of a melodic note (Ear Training) you must know the scales (Theory). In order to identify an interval by ear, for example (Ear Training) you must first know what the intervalsĪre (Theory). It's not really possible to isolate the one task completely from the other. These two are sometimes handled by entirely separate programs, but we think that Practica Musica is a complete tutor for both Ear Training and Music Theory.