good melodic-step composition to build intensity. Write only the lead trumpet part (in concert) with chord symbols for ensemble reference. Polyphonic Texture Lesson 3: Conventional 2-part counterpoint Listening/Analysis: Mulligan/Baker (“Line For Lyons”) Assignment: add a melodic counterline to “Elevation” Lesson 4: Modern 2-part counterpoint Listening/Analysis: from the Wynton Marsalis (“Black Codes Underground”) Bartok Mikrokosmos – “Diminished 5th” Assignment: add harmonic counterpoint (use the same melodic rhythm) for the of Use notes from the diminished scale (for C7). ‘A’ section “Caravan”. Lesson 5: Ensemble counterpoint 3 or 4 parts – Free Counterpoint conventional style – Assignment: write at least two simultaneous counterlines to the Is melody “What This and assign the instruments in Thing Called Love?” (first 16 bars only) accordance with vocal registers (SATB). Use conventional counterpoint. Submit a grand staff sketch and have your work recorded or performed in class (parts transposed). Lesson 6: Ensemble counterpoint 3 or 4 parts – Free Counterpoint modern style – Listening/Analysis: “The Invisible” Assignment: write at least two simultaneous counterlines to the melody “What Is This and assign the instruments in Thing Called Love?” (first 16 bars only) accordance with vocal registers (SATB). Use modern counterpoint. Submit a grand staff sketch and have your work recorded or performed in class (parts transposed). Lesson 7: Counterpoint - Jazz Fugue (traditional style) Listening/Analysis: Bach Fugue No. 2 in C Minor, Fugue for Jazz Quartet Assignment: write an original 3 or 4-voice fugue and assign instruments in accordance with vocal registers (SATB). It should be long enough to establish the entrance of each voice with its statement of the subject and progress until establishing a cadence in a new key. Submit a concert sketch with each part on
good melodic-step composition to build intensity. Write only the lead trumpet part (in concert) with chord symbols for ensemble reference. Polyphonic Texture Lesson 3: Conventional 2-part counterpoint Listening/Analysis: Mulligan/Baker (“Line For Lyons”) Assignment: add a melodic counterline to “Elevation” Lesson 4: Modern 2-part counterpoint Listening/Analysis: Wynton Marsalis (“Black Codes from the Underground”) Bartok Mikrokosmos – “Diminished 5th” Assignment: add harmonic counterpoint (use the same melodic rhythm) for the ‘A’ section of “Caravan”. Use notes from the diminished scale (for C7). Lesson 5: Ensemble counterpoint – 3 or 4 parts Free Counterpoint – conventional style Assignment: write at least two simultaneous counterlines to the melody “What Is This Thing Called Love?” (first 16 bars only) and assign the instruments in accordance with vocal registers (SATB). Use conventional counterpoint. Submit a grand staff sketch and have your work recorded or performed in class (parts transposed). Lesson 6: Ensemble counterpoint – 3 or 4 parts Free Counterpoint – modern style Listening/Analysis: “The Invisible” Assignment: write at least two simultaneous counterlines to the melody “What Is This Thing Called Love?” (first 16 bars only) and assign the instruments in accordance with vocal registers (SATB). Use modern counterpoint. Submit a grand staff sketch and have your work recorded or performed in class (parts transposed). Lesson 7: Counterpoint - Jazz Fugue (traditional style) Listening/Analysis: Bach Fugue No. 2 in C Minor, Fugue for Jazz Quartet Assignment: write an original 3 or 4-voice fugue and assign instruments in accordance with vocal registers (SATB). It should be long enough to establish the entrance of each voice with its statement of the subject and progress until establishing a cadence in a new key. Submit a concert sketch with each part on
34486_2757_4610_001_syllabus.docx