Composing Your Own Four – Part Chorale Student Page Title Introduction Task Process Evaluation Conclusion Credits [ Teacher Page ] A WebQuest for 12th Grade Music Theory Designed by Taylor Hutchins [email_address] Based on a template from The WebQuest Page
Introduction Student Page Title Introduction Task Process Evaluation Conclusion Credits [ Teacher Page ] Today, you will enter the role of the composer. For many years, composers have been writing “Four-Part Chorales.” What are they, and why are they amazing tools when learning about music theory? All of these are questions that will be answered by the time you have finished your composition. You will have to discover what a “Four-Part Chorale” is. There are many rules that govern the formation of such chorales, and it will be your job to obey them all. Using the knowledge you will find, you will compose your own short, 8 bar chorale. In creating this musical composition, you should gain a larger understanding of the interaction between diatonic chords, and the basic non harmonic tones.
Your Task: Student Page Introduction Task Process Evaluation Conclusion Credits [ Teacher Page ] Your Task will be to create your own musical composition in the “four-part chorale style” using all of the appropriate guidelines. Over the past few weeks in class we have learned the relationship between the basic diatonic chords. Today you will use the internet and available resources to discover how to begin creating your chorale, and which principles are most important to follow. Afterwards, you will create your own melody, and harmonize it accordingly. At the end of the project, you will present your composition by either playing it on the piano, or playing a recording of it through Finale, or Sibelius. Title
The Process Student Page Title Introduction Task Process Evaluation Conclusion Credits [ Teacher Page ] In order to create a musically appealing composition, you must complete several steps along the way. Not only are their rules that you must follow, but you must understand how each chord or note can be used within these rules. Do you remember the stipulations behind avoiding parallel fifths? Once you have remembered these guidelines, you might ask yourself some questions. How do V chords resolve ? What are 7 th Chords? What are “ non-harmonic tones ?” These questions are perfectly natural, and can only be answered by studying the teachings and compositions of great composers like Bach. Next, it will be your job to plan your chorale around the cadences you want it to contain. Careful!! I would be wary of using anything other than AC, HC, or DC!!! Finally, you should at last be capable of “filling in the blanks,” or harmonizing your musical masterpiece!
Evaluation – You will be evaluated on the following aspects of your work Student Page Title Introduction Task Process Evaluation Conclusion Credits [ Teacher Page ] Beginning 1 Developing 2 Accomplished 3 Exemplary 4 Score Non-Harmonic Tone Usage No non-harmonic tones used, or all such notes are used incorrectly. Non-harmonic tones are used sparingly, and at awkward moments. Non-harmonic tones are used almost entirely correctly. Not only do Non-harmonic tones resolve correctly, but they add musicality to your piece in a tasteful manor. Chord Progression Chord Progression is not standard, and proper resolutions are not obeyed. Some Chords resolve correctly, the overall progression is weak. Chord Progression is standard, and there are few mistakes in resolutions. While maintaining proper chord resolution, the piece uses creative chord progression. Creativity The assignment uses harmonization's or melodies copied from links provided. Melody, or Harmonization is creative, but the piece is bland. Most parts of the assignment demonstrate creativity, but it lacks in other areas. Piece demonstrates creative aspects in every aspect of the piece. 7 th Chord Resolutions and Parallel Fifths/Octaves Many parallel fifths/octaves are present, and 7 th chords are resolved improperly. Description of identifiable performance characteristics reflecting development and movement toward mastery of performance. Description of identifiable performance characteristics reflecting mastery of performance. All 7 th chords resolve correctly, and there are no parallel fifths or octaves present. Technical Aspects Ranges are wrong, Voice Crossing is present in all voices. Ranges are partially correct, voice-crossing only partially present. Ranges might extend to extremes rarely, and voice crossing is not used. Ranges are flawless, and voice-crossing is not present.
Conclusion Student Page Title Introduction Task Process Evaluation Conclusion Credits [ Teacher Page ] Today you have become a student of Bach!!! You have put aside your instruments and voices in order to aspire to create music in a different way. Your composition also demonstrates your understanding of basic principles in music theory. You are well on your way to becoming a master composer, who will be remember forever for your influential works!! On the other hand, you could pick those instruments pack up, and work your way into becoming a virtuosic performer. The choice is yours.
Composing Your Own Four-Part Chorale (Teacher) [ Student Page ] Title Introduction Learners Standards Process Resources Credits Teacher Page A WebQuest for 12th Grade (Music Theory) Designed by Taylor Hutchins [email_address] Based on a template from The WebQuest Page Evaluation Conclusion
Introduction (Teacher) [ Student Page ] Title Introduction Learners Standards Process Resources Credits Teacher Page This lesson was created to fulfill the requirements of a Technology in the Classroom course taken at Colorado State University. The goal of the lesson is to present High-School Music Theory students with the opportunity to compose a short work of music using the knowledge they have gained in previous lessons, and through internet research. Evaluation Conclusion
Learners (Teacher) [ Student Page ] Title Introduction Learners Standards Process Resources Credits Teacher Page As stated earlier, this lessons is aimed for Music Theory students in 12 th grade. I believe the lesson could be adapted to suit slightly lower grade levels, or even entry level college work, provided that it is assigned in order to asses a students knowledge of theory before beginning the course. In order to complete this assignment with no additional assistance, the students must know how to create a S-A-T-B composition, the ranges of those voices, as well as basic music skills, such as time signature, note value, etc. The students must also have been at least introduced to concepts such as common chord progressions, standard resolutions of certain chords, and non-harmonic tones. It is preferred that the student has already analyzed several four-part writing pieces, but has not yet attempted to create one of their own. Knowledge of modulations, secondary dominants, and inversions of chords is not required. Evaluation Conclusion
Curriculum Standards (Teacher) [ Student Page ] Title Introduction Learners Standards Process Resources Credits Teacher Page
Students will learn how to apply their knowledge of basic music theory skills to compositional practice.
Music Standards Addressed
Students will Create Music
Students will Read, and Notate Music.
Most importantly is the creative process, students will learn how to communicate their own ideas through the chosen medium (music), as opposed to merely building off of what others have down before, or analyzing a different composer’s work.
The Process (Teacher) [ Student Page ] Title Introduction Learners Standards Process Resources Credits Teacher Page The process begins by having students re-affirm their prior knowledge by investigating the links posted. The links are designed to order the way the student composes his work. Each step completes part of the necessary elements in order to create a working four-part chorale. The lesson is organized to take place in the duration of one class period (depending on the length of the class). Other knowledge outside of music theory is not required to complete this class. This project is intended for each student to complete on their own, and not through collaboration with other students. The goal is that each student creates a short work of music they can call entirely their own. As the teacher, you only require the same skills the students need – understanding of the basic theory skills needed to compose a short, 8 bar chorale. Variations Possible variations could include different types of compositions. Melodies only, or perhaps Fugues, or Counter-point writing for more advance classes. Another possible variation would be to have a group of students working together, and each one is responsible for creating a single line – Soprano, Alto, Tenor, Bass. The students will chose which line they want, and can start by having the “soprano” student compose his melody. Next the “bass” student would harmonize it partly, followed by the “tenor” and “alto” students filling the blanks, attempting to avoid any incorrect functions of chords, or other parts of the assignment. Evaluation Conclusion
Resources (Teacher) [ Student Page ] Title Introduction Learners Standards Process Resources Credits Teacher Page
Access to the internet for all students.
Pianos/Keyboards available for students
Finale/Sibelius Software, one for each student if possible
Sound System capable of playing a Finale/Sibelius file
Evaluation (Teacher) [ Student Page ] Title Introduction Learners Standards Process Resources Credits Teacher Page This lesson will be successful if each student manages to create 8 unique bars of music in the four-part writing style. The students should be evaluated on their technical skills (such as range of parts, voice crossing), proper resolutions, chord progressions, and overall creativity. Evaluation Conclusion
Conclusion (Teacher) [ Student Page ] Title Introduction Learners Standards Process Resources Credits Teacher Page Make some kind of summary statement here about the worthiness of this lesson and the importance of what it will teach. Evaluation Conclusion